w
SHYLOCK
'' 7 crave the law,
The penalty and forfeit of my bond ' '
ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION
INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN
COPYRIGHT, IQI2, BY DOUBLEDAY, PAGE & COMPANY
\
THE COUNTRY LIF
E PRESS, GARBEN CITY, N. Y.
A FEW GENERAL RULES OR CUSTOMS
OF ACTING
THE letters R and L indicate the position of
players on the stage facing the audience.
R 1, Ll are the entrances nearest the front.
Go up means from the audience; go down
is toward the audience. R C is the right
side of the centre, — and so forth.
When the characters enter, the person speaking
generally comes second.
Do not huddle together; do not stand in lines;
and do not get in such angles that you cannot
be seen by the sides of an audience.
Stand still — keep the leg nearest the audience
back, gesticulate seldom and with the hand
farthest from the audience. Do not point to
your chest or heart when you say /, my and
mine, nor to your neighbor when saying thou,
thy, and thine, unless absolutely necessary.
Try to reverse the usual acting of the present
day and eliminate the personal pronoun
280855
viii RULES OR CUSTOMS OF ACTING
Remember that Shakespeare is the most
perfect English. Do not imitate some of
those professors, especially teachers of what
is called Elocution and Expression, if by any
chance they happen to pronounce it in up-to-
date American or cockney British, or tell you
it was conceived in any other brogue, accent, or
pronunciation than the purest of pure English.
There are a few mistakes in his plays, and some
printer's errors, about which volumes have
been written. Study the humanity, the heart,
the English of Shakespeare, as of the Bible -
those two wonderful Books of the same gener-
ation — the one splendidly revised and per-
fected by many scholars, the other produced
in a state of nature and yet almost perfect —
study them, my young friends, inwardly digest
your Bible and outwardly demonstrate your
Shakespeare: you will then start in life pretty
well equipped.
THE MERCHANT OF VENICE
UNI
DRAMATIS PERSONS
The DUKE OF VENICE
The PRINCE ox\
MOROCCO, ( suitors to
The PRINCE OF^ Portia.
ARRAGON, /
ANTONIO, a merchant of Venice.
BASSANIO, his friend, suitor to BALTHASAR, \
Portia. STEPHANO, I
LAUNCELOT GOBBO, a clown,
servant to Shylock.
OLD GOBBO, father to Launce-
lot.
LEONARDO, servant to Bas-
sanio.
servants to
Portia.
SALARINO, ' friends to Antonio NERISSA, her waiting-maid.
GRATIANO, ( and Bassanio. JESSICA, daughter to Shylock.
SALERIO, • Magnificoes of Venice, Officers
LORENZO, in love with Jessica. of the Court of Justice,
SHYLOCK, a rich Jew. Gaoler, Servants to Portia,
TTJBAL, a Jew, his friend. and other attendants.
They enter together from Li or are discovered,
Antonio seated L C, Salanio R, Salarino L, leaning
on seat.
In entering, characters should come on natur-
ally in groups, rather than in ranks, one follow-
ing the other; and should, as far as possible, be
speaking as they enter. Do not wait till coming to
the centre of the stage, to talk: In this entrance,
Salanio and Antonio are walking together arm
in arm; Salarino follows. If discovered when
there is a curtain, Antonio is seated L C.
lGive left hand to Salarino.
Steps on to Platform Drop with can&I wid houses Steps on to Platform^
Pla-Lforrru
Post Post Post Post
Browri cloth
(can remain down all througl-i)
ACT I
SCENE I. Venice. A street.
Enter ANTONIO (2), SALARINO (3), and SAL-
ANIO (l).
Ant. (C). In sooth, I know not why I am so
sad;
It wearies me; you say it wearies you;
But how I caught it, found it, or came by it,
What stuff 't is made of, whereof it is born
I am to learn;
And such a want-wit sadness makes of me,
That I have much ado to know myself.1
Solan . (R) . Your mind is tossing on the ocean ;
There where your argosies with portly sail
Like signiors and rich burghers on the flood,
Or as it were the pageants of the sea
Do overpeer the petty trafficers.
That curtsey to them,, do them reverence
As they fly by them with their woven wings.
3
*Gives right hand to Salanio.
2 -Rising and laughing.
*Bassanio> Lorenzo and Gratiano laugh outside
L, then enter talking.
m of room CfHaff
ifcrc ahcold be room to vraDv and carry things behind hi
flfm Balcony. wM,Weh
Door or corltina Curtoms Door
D n
fiOur Piuar
Canopy on pillars
£3-
CortaTn to flraw Jtn»r
A f oss^We «ntranec A poaa'ible entrance
e5tnpfit,d f round p
THE MERCHANT OF VENICE
Solar. Believe me, sir, had I such venture
forth,
The better part of my affections would
Be with my hopes abroad; and every object
That might make me fear misfortune
To my ventures,out of doubt would make me sad.
But tell not me: I know, Antonio
Is sad to think upon his merchandise.
Ant. Believe me, no1: I thank my fortune
for it,
My ventures are not in one bottom trusted,
Nor to one place; nor is my whole estate
Upodfthe fortune of this present year:
Therefore my merchandise makes me not sad.
Salan. Why then you are in love.
Ant. Fie! fie! (laughs and rises).
Salan. (R C). Not in love neither: then let
us say you are sad,2
Because you are not merry; and 'twere as easy
For you to laugh and leap and say you are merry
Because you are not sad.3 (Laugh.)
Solar. Here comes Bassanio, your most
noble kinsman, ^ >--"x>
Gratiano and Loren^C ..Fare ye well:
(Crosses to R.)
5
1Bassanio goes directly to Antonio; they shake
hands. Lorenzo next, then Gratiano.
^Exeunt Salarino and Salanio of R merrily.
*Bassanio and Lorenzo go up stage to L C to-
gether.
^Crosses to Antonio R C.
bThe whole of this speech can be used. It must
be spoken brightly but naturally. Gratiano is the
butterfly.
With regard to cuts generally, this arrangement
is made to meet the requirements of young people
and students who have difficulty in sustaining long
speeches with variety of manner and flexibility of
speech. The whole speech can, at all times, be
restored from the text, or further cuts made, pro-
vided the rhythm and metre are preserved, and the
story and plot of the play not impaired. I give
here "cuts" as they are adopted on the regular
stage.
If the play is given on the Shakespearian stage
there should be no cuts, but such as are unsuitable to
be spoken. Such things are generally unnecessary,
and were intended to be omitted if desired. But it
really breaks one's heart to cut a line of Shake-
speare, especially a brilliant sally of wit like
Gratiano's.
THE MERCHANT OF VENICE
Enter BASSANIO, LORENZO, and GRATIANO
from L.1
We leave you now with better company.
Salan. I would have stayed till I had made
you merry,
If worthier friends had not prevented me.2
Lor. (L C). My Lord Bassanio, since you
have found Antonio,
We two will leave you; but at dinner-time,
I pray you, have in mind where we must meet.
Bass. (C). I will not fail you.3
Gra. (Crosses to R C.) You look not well,
Signior Antonio4;
You have too much respect upon the world:
They lose it that do buy it with much care;
Believe me, you are marvellously changed.
Ant. (R C). I hold the world but as the
world, Gratiano;
A stage where every man must play a part,
And mine a sad one.
Gra. (C.)5 Let me play the fool:
With mirth ancT laughter let old wrinkles come,
I love thee, and it is my love that speaks -
There are a sort of men whose visages
7
lTakes the stage to L C, meets Lorenzo L, who
finishes talking to Bassanio, at the same time as
Gratiano finishes speech.
^Exeunt Gratiano and Lorenzo of L laughing.
Let laughter, like singing, begin and end gradu-
ally; do not begin or finish abruptly; and never
make noises or conversation off the stage, to annoy
the actors who are speaking on the stage.
^Bassanio goes over to L to wave hands to the
retreating friend. Antonio crosses to L C, meets
Bassanio there.
THE MERCHANT OF VENICE
Do cream and mantle like a standing pond,
And do a wilful stillness entertain,
With purpose to be dressed in an opinion
Of wisdom, gravity, profound conceit,
As who should say "I am Sir Oracle,
And when I ope my lips, let no dog bark!"
0 my Antonio, I do know of these
That therefore only are reputed wise
For saying nothing. Fare ye well awhile:
I'll end my exhortation after dinner.1
Lor. (L.) Well, we will leave you then till
dinner-time:
1 must be one of these same dumb wise men,
For Gratiano never lets me speak.
Gra. (L.) Well, keep me company but two
years more,
Thou shalt not know the sound of thine own
tongue.
Ant. Farewell: I'll grow a talker for this
gear.2 (They laugh and go off.)
Bass. (L.)3 Gratiano speaks an infinite deal
of nothing, more than any man in all
Venice. (Antonio takes his arm.)
Ant. (L C.) Well: tell me now what lady is
the same
lSitsLofseatLC.
^Stands behind seat then crosses to R end, back of
seat. Bassanio, although what the English call a
"bounder," doesn't exactly know how to broach the
subject to his friend, as he wants to borrow money
— always a delicate matter. A pause (/7"<N).
9 Asks him to sit on seat with him.
^Sitting R o] seat by Antonio.
5This speech seems long, but it is almost impossi-
ble to cut it.
10
THE MERCHANT OF VENICE
To whom you swore a secret pilgrimage,
That you to-day promised to tell me of P1
Bass.2 /T^N'Tis not unknown to you, Antonio,
How much I have disabled mine estate,
By something showing a more swelling port
Than my faint means would grajit continuance :
Nor do I now make moan to be abridged
From such a noble rate. To you, Antonio,
I owe the most, in money and in love,
And from your love I have a warranty
To unburden all my plots and purposes
How to get clear of all the debts I owe.
Ant. I pray you, good Bassanio, let me know
it. (He puts him at his ease)
And if it stand, as you yourself still do,
Within the eye of honour, be assured,
My purse, my person, my extremest means,
Lie all unlocked to your occasions.3
Bass. In my school-days,4 when I had lost
one shaft,
I shot his fellow of the self-same flight
The self-same way with more advised watch,
To find the other forth, and by adventuring both
I oft found both: I urge this childhood proof,5
Because what follows is pure innocence.
lBe careful to sound the " owe" distinctly as
there are three vowel sounds coming together.
2An instance of the emphasized pronoun. I shall
occasionally mark an important accent.
3This speech reads like an exercise in pronouns,
so be careful not to accent them.
^Hesitatingly. Rising, if preferred.
*This speech is descriptive and should be delivered
spontaneously — not precisely. Whatever you do
— be natural. I have seen some college perform-
ances in which all the actors appeared like figures
worked by electricity, or some mechanical contriv-
ance. Do not take comedy seriously; and do not
"elocute" but upon rare occasions. Get into the
skin of a part: for acting, study the heart and mind
of Shakespeare; hang the philology. In this way
you will not say in after years, "I had too much of
Shakespeare in college. " It would be much more
interesting to students to get up and rehearse the
plays, along with the study, instead of sitting and
just reading them.
*With rapture.
^Turning to Antonio and speaking with inten-
tion.
12
THE MERCHANT OF VENICE
I owe you much, and, like a wilful youth,
That which I owe1 is lost but if you please
To shoot another arrow that self way
Which you did shoot the first, I do not doubt,
As I2 will watch the aim, or to find both
Or bring your latter hazard back again
And thankfully rest debtor for the first.
Ant. You know me well, and herein spend
but time
To wind about my love with circumstance;
Then do but say to me what I should do
That in your knowledge may by me be done,
And I am prest unto it: therefore, speak.3
Bass.4 In Belmont is a lady richly left;
And she is fair and, fairer than that word,
Of wondrous virtues: sometimes from her eyes
I did receive fair speechless messages:
Her name is Portia,5 nothing undervalued
To Cato's daughter, Brutus' Portia:
Nor is the wide world ignorant of her worth,6
For the four winds blow in from every coast
Renowned suitors. Had I but the means
To hold a rival place with one of them,7
I have a mind presages me such thrift,
That I should questionless be fortunate!
13
lThinking.
2Both rise.
3 Bassanio goes over to Shylock's house. Bas-
sanio knocks, the door is opened by Launcelot.
Bassanio waves to Antonio and enters house.
Antonio then goes up stage and is met by Gratiano
and Lorenzo, who laugh and take him off up L.
Several market people and others come on, making
up a busy minute or so. Then, as they go of
gradually up steps and of platform R and L, enter
Bassanio from house followed by Shylock. There
can be music, but not ragtime.
Observe the colons: they always indicate a move-
ment: a change of key: or some stage business.
The pronunciation of wind had better be left
to the teacher. I pronounce the long i only when
it rhymes with find, mind, kind, etc., that is a
general English rule; accent thus' will indicate a
strong accent.
With regard to"my"and "mine," it is our custom
to pronounce them long when in antithesis to "thy"
and "thine." In this line it would be incorrect to
pronounce "my" long. It is not even an accented
syllable — indeed, it is seldom so in Shakespeare,
or any other cultivated writer. The modern egoist is
all I, my, and mine: it is the spirit of this new
14
THE MERCHANT OF VENICE
Ant.1 Thou know'st that all my fortunes are
at sea;
Neither have I money nor commodity
To raise a present sum: therefore go forth;2
Try what my credit can in Venice do:
That shall be racked, even to the uttermost,
To furnish thee to Belmont, to fair Portia.
Go, presently inquire, and so will I,
Where money is; and I no question make
To have it of my trust or for my s&ke.3
SCENE II. Same. (No change necessary.)
Enter SHYLOCK from house R, following BAS-
SANIO.
Shy. (R C). Three thousand ducats; well.
Bass. (L C). Ay, sir, for three months.
Shy. For three months; well.
Bass. For the which, as I told you, Antonio
shall be bound.
Shy. Antonio shall become bound; well.
Bass. May you stead me? Will you pleasure
me? Shall I know your answer?
Shy. Three thousand ducats for three months
and Antonio bound.
•s
young age' but is, grammatically, incorrect and
ugly.
A little music can be played to mark a short
interval of time and action and is useful in connect-
ing scenes and motives; Shakespeare gives a few
directions for its use; but, it is very sure, musicians
were present at all the plays.
lBassanio makes movement as if he did not
quite understand Shylock's remark.
2 Another slight movement.
3Shylock goes a little to R as if calculating the
possibilities of a loan: he rattles coins in his satchel.
*Still calculating he turns to Bassanio, who is
up stage, speaking rather louder.
16
-t-
THE MERCHANT OF VENICE
Bass. Your answer to that.
Shy. Antonio is a good man.
Bass. Have you heard any imputation to
the contrary?
Shy. Oh, no, no, no, no: my meaning in say-
ing he is a good man is to have you understand
me that he is sufficient. Yet his means are in
supposition: he hath an argosy bound to Tri-
polis, another to the Indies.; I understand, more-
over, upon the Rialto, he hath a third at Mexico,
a fourth for England, and other ventures he hath
squandered abroad. But ships are but boards,
sailors but men; there be land-rats and water-
rats, water-thieves and land-thieves1 — I mean
pirates — and then there is the peril of waters,
winds and rocks.2 The man is notwithstand-
ing, sufficient.3 Three thousand ducats; I think
I may take his bond.
Bass. (L C). Be assured you may. (He
goes up L.)
Shy. (R C). I will be assured I may; and,
that I may be assured, I will bethink me.4 May
I speak with Antonio?
Bass. If it please you to dine with us. (Still
up stage L C).
17
lBoth rather amused. Shylock must not ap-
pear rude here (as he so often does).
2This makes Bassanio mildly indignant.
^Shylock stands by his porch at R. This
speech distinctly indicates that he intends to drive
a hard bargain with Antonio.
4 Upon the hip can be clearly indicated to
audience by tapping the money bag which hangs
on the belt at his right side.
T
THE MERCHANI OF VENICE
Shy. Yes, to smell pork1 ; to eat of the habi-
tation which your prophet the Nazarite con-
jured the devil into2. I will buy with you,
sell with you, talk with you, walk with you,
and so following; but I will not eat with you,
drink with you, nor pray with you. What
news on the Rial to? Who is he comes here?
(Going R after seeing Antonio approaching
from L U.)
Enter Antonio up L; goes to him L C.
Bass. This is Signior Antonio.
Shy? [Aside.} How like a fawning publican
he looks!
I hate him for he is a Christian,
But more, for that in low simplicity
He lends out money gratis and brings down
The rate of usance here with us in Venice.
If I can catch him once upon the hip,4
I will feed fat the ancient grudge I bear him.
He hates our sacred nation; and he rails
Even there where merchants most do congregate
On me, my bargains, and my well-won thrift
Which he calls interest: cursed be my tribe
If I forgive him.
19
lShylock R. Bassanio L C. Antonio L.
Note: Tubal is a happy thought of Shylock's.
^Shylock has already seen Antonio, so that if
he expresses surprise — it is feigned. He should
give an oriental salute or bow here.
*He crosses in front of Bassanio to L C —
Bassanio goes slowly to L.
N. B. In stage business, it is the general rule to
have a character cross in front of another when
speaking — the other character gives the stage
and then quietly takes the place of his companion.
Also in all stage business the character speaking
should have the stage; which means, that any speech
of more than two lines should be spoken down,
not up the stage; not actually facing the audience;
but so that the voice goes out front, not up to the
back-drop or wall of the room or hall.
I will, as far as possible, give you the general rules
of the stage. One is seldom wrong in adopting them;
a dramatic situation, or extra good or bad acting,
occasionally demands an exception to the rule.
^Referring to Bassanio — who acquiesces.
5The bond refers to Antonio's.
20
THE MERCHANT OF VENICE
Bass.1 (Both going down L C.) Shylock, do
you hear?
Shy. (Xs to R C). I am debating of my
present store,
And, by the near guess of my memory,
I cannot instantly raise up the gross
Of full three thousand ducats. What of
that?
Tubal, a wealthy Hebrew of my tribe,
Will furnish me. But soft! how many months
Do you desire? [To Ant. ] Rest you fair,
good signior;2
Your worship was the last man in our mouths.
Ant? Shylock, although I neither lend nor
borrow
By taking nor by giving of excess,
Yet, to supply the ripe wants of my friend,
I'll break a custom — Is he yet possessed
How much you would?
Shy. Ay, ay, three thousand ducats.
Ant. And for three months.
Shy. I had forgot; three months; you told
me so.4
Well then, your bond;5 and let me see; but
hear you :
21
Calculating; then suddenly remembers.
There has been a great deal of discussion lately
on the morality of Shy lock. Some people have
taken exception to Shakespeare's diagnosis of a
mercantile Jew — very common in his day. If
I were a Scotchman, I might just as well object to the
drawing of Macbeth's character, and his wife's — a
flair of bloodthirsty villains. There are avaricious
Jews, as well as greedy Scotchmen. To withdraw
these two wonderful plays from the curriculum
of Departments of English, on such absurd reason-
ing, is as foolish as to withdraw the Bible — the
greatest book in the world.
2The speeches here omitted may of course, be
spoken.
^Shylock walks slowly R, then up J?, then turns
as if calculating figures on the ground.
* Antonio and Bassanio have been conversing
and watching Shylock; then come forward L C.
^Shylock goes R C, and then to C.
N. B. "For sufferance is the badge of all our
tribe" should be indicated by a small yellow strip
worn in the cap. It had to be so worn by Jew
merchants in those days. Shylock slightly in-
dicates this when speaking.
^Shylock suits the actions to the words here.
22
THE MERCHANT OF VENICE
Methought you said you neither lend nor
borrow
Upon advantage.1
Ant. (L C). I do never use it.
Shy.2 Three thousand ducats; 't is a good
round sum.
Three months from twelve; then, let me see;
the rate -
Ant? Well, Shylock, shall we be beholding
to you?
Shy.4 Signior Antonio, many a time and oft
In the Rialto you have rated me
About my moneys and my usances:
Still have I borne it with a patient shrug,
For sufferance is the badge of all our Tribe.5
You call me misbeliever, cut-throat dog
And spit upon my Jewish gaberdine,
And all for use of that — which is mine own !
Well then, it now appears you need my help:
What should I say to you? Should I not say
"Hath a dog money? is it possible
A cur should lend three thousand ducats?"6 or
Shall I bend low and in a bondman's key,
With bated breath and whispering humbleness,
Say this:
23
lThere is a slight pause at the end of this speech,
as both Antonio and Bassanlo are somewhat dis-
concerted by the force of the argument.
2Shylock shrinks and feels resentment at his
speech — but he must get a victory over Antonio,
so he does not show his feelings.
*Very forcible — at the end of the speech An-
tonio and Bassanio move to go off L.
4Shylock turns and calls after them. They stop
L, and half return.
bShylock intends getting a point here. The
"I" should be emphasized.
^Coming back to L C.
24
THE MERCHANT OF VENICE
"Fair sir, you spit on me on Wednesday last;
You spurned me such a day; another time
You called me dog; and for these courtesies
I'll lend you thus much moneys."1 (Do not
move.)
Ant. (L C Xing to C.) I am as like to call
thee so again,
To spit on thee again,2 to spurn thee too.
If thou wilt lend this money, lend it not
As to thy friends; for when did friendship take
A breed for barren metal of his friend?
But lend it rather to thine enemy,
Who, if he break,3 thou mayst with better face
Exact the penalty. (Going L.)
Shy. (R C).4 Why, look you, how you storm;
I would be friends with you and have your love,
Forget the shames that you have stained me
with,
Supply your present wants and take no doit
Of usance for my moneys, and you'll not hear
me:
This is kind 7 offer.5
Bass.6 This were kindness.
Shy. (Xs to C). This kindness will I show:
Go with me to a notary, seal me there
25
lShylock must take this lightly.
''•Hesitating.
^Pointing.
N. B. This speech can of course be given in its
entirety, as all the speeches may. The object of
this arrangement is to adopt possible omissions
to bring the play within a two hours' traffic of
the stage.
4 Antonio moves to offer Shylock his hand and
is prevented by Bassanio, who will not allow it.
Shylock makes a movement too — as if glad to
clinch the bargain.
bHere both parties quicken the pace till the end
of scene, as they are now anxious to get the bargain
concluded.
N. B. The ends of scenes should be quickened
— pace and intensity being necessary to impress
audiences after long scenes between two or three
characters.
THE MERCHANT OF VENICE
Your single bond1; and, in a merry sport,
If you repay me not on such a day,
In such a place, such sum or sums as are
Expressed in the condition,2 let the forfeit
Be nominated for an equal pound3
Of your fair flesh, to be cut off and taken
In what part of your body pleaseth me. (Do
not move.}
-Ant. (L C). Content, i' faith: I'll seal to
such a bond
And say4 there is much kindness in the Jew.
(Antonio and Shylock both withdraw gloves as if
to shake hands.)
Bass.* You shall not seal to such a bond
for me:
I'll rather dwell in my necessity.
Ant. (L C). Why, fear not, man; I will not
forfeit it:
Within these two months, that's a month before
This bond expires, I do expect return
Of thrice three times the value of this bond.
Shy. (up R). Oh, Father Abram, what these
Christians are; whose own harsh dealings
teaches them suspect the thoughts of others:
I say to buy his favour I extend this friendship —
27
lShylock makes a movement as of victory. An-
tonio of course does not owe Shy lock any love, and
his conduct in the matter is quite as reprehensible as
Shy lock's. Are we not continually meeting with
similar situations in the ordinary affairs of up-to-
date life? I think so. Christians, Jews, and any-
body, are all ready to bargain with their neighbours.
28
THE MERCHANT OF VENICE
if he will take it so; if not, adieu, and for my love
I pray you wrong me not.
Here Shylock moves o/R — the others cqll to
him this time.
Ant. (L C}. Yes, Shylock, I will seal unto
this bond.
Shy.1 Then meet me forthwith at the
notary's;
Give him direction for this merry bond,
And I will go and purse the ducats straight,
See to my house, left in the fearful guard
Of an unthrifty knave, and presently
I will be with you.
Ant. Hie thee, gentle Jew.
[Exit Shylock of R or over platform.
Ant. Come on; in this there can be no dis-
may;
My ships come home a month before the day.
[Exeunt ojf L.
END OF ACT I
The same scene later in the day. No interval
necessary.
lLauncelot runs on to the stage very quickly and
stops C suddenly. He comes from house R.
2He starts to run L. Suddenly draws himself up.
zHe taps his heart at each mention of the "con-
science."
4~5He jumps R and L as he indicates running
and stopping.
* Flicking his right thumb toward the house R.
7He suddenly starts of toward L. when he hears
Old Gobbo's stick tapping on ground of L. Sud-
denly stands still L C.
ACT II
SCENE I
Laun. Certainly my conscience will serve
me to run from this Jew my master.1 The
fiend is at mine elbow and tempts me, saying
to me, " Gobbo, Launcelot Gobbo, good Launce-
lot," or "good Gobbo/' or "good Launcelot
Gobbo, use your legs, take the start, run away. "2
Well, my conscience, hanging about the neck
of my heart, says very wisely to me3 : "Launce-
lot, budge not."4 "Budge/' says the fiend;5
"Budge not," say my conscience. "Con-
science," say I, "you counsel well." "Fiend,"
say I, "you counsel well": to be ruled by my
conscience, I should stay with the Jew my
master;6 my conscience is but a kind of hard
conscience, to offer to counsel me to stay with
the Jew. The fiend gives the more friendly
counsel:7 I will run, fiend; my heels are at your
command; I will run.
31
lGobbo taps a stick in front of him, being blind.
2Takes hold of father and slowly turns him
round till the lines are finished.
^Emphasize "master."
*More emphatic still
THE MERCHANT OF VENICE
Enter Old GOBBO, with a basket.
Gob.1 Master young man, you, I pray you,
which is the way to master Jew's?
Laun. [Aside] (C). O! heavens, this is my
true-be-gotten father! who, being more than
sand-blind, knows me not: I will try confusions
with him.
Gob. (Xs to L C.) Master young gentle-
man, I pray you, which is the way to master
Jew's?
Laun. Turn up on your right hand at the
next turning,2 but at the next turning of all,
on your left; marry at the very next turning,
turn of no hand, but turn down indirectly to
the Jew's house.
Gob. Can you tell me whether one Launce-
lot, that dwells with him, dwell with him or no?
Laun. Talk of young Master Launcelot?
[Aside] Mark me now; now will I raise the
waters. Talk you of young Master Launcelot?3
Gob. No master, sir, but a poor man's son.
Laun.4 Ergo, Master Launcelot. Talk not
of Master Launcelot, father; for the young
gentleman, according to Fates and Destinies
and such odd sayings, is indeed deceased, or
33
lPause on "terms" then point upward and
"phizz," like the contents of a bottle flying.
^Launcelot teases his father all the time.
z Kneels.
4Gobbo feels for the son who is bending down so
that his hand passes over his head.
5Gobbo, at last, finds Launcelofs head, and
thinks it is his beard. Launcelot thinks it is a fine
joke.
34
THE MERCHANT OF VENICE
as you would say in plain terms,1 gone to
heaven.
Gob. Marry, God forbid! the boy was the
very staff of my age, my very prop.
Lawn,? Do I look like a cudgel or a hovel-
post, a staff or a prop? Do you know me
father?
Gob. Alack the day, I know you not, young
gentleman; but I pray you, tell me, is my boy,
God rest his soul, alive or dead?
Laun. Do you not know me, father?
Gob. Alack, sir, I am sand-blind; I know
you not.
Laun. Well, old man, I will tell you news of
your son:3 give me your blessing: truth will come
to light; murder cannot be hid long; a man's
son may, but at the length truth will out.
Gob.4 Pray you, sir, stand up: I am sure you
are not Launcelot, my boy.
Laun. Pray you, let's have no more fooling
about it, but give me your blessing.5 I am
Launcelot, your boy that was, your son that
is, your child that shall be.
Gob. Lord, how art thou changed. What a
beard hast thou got! thou hast got more hair
35
lAt end of speech Launcelot embraces his
father's legs, nearly pulling the poor old soul over-,
then the old man realizes it is his son. Launcelot
gets up and they embrace. Then Gobbo speaks the
next line.
^Showing things in basket, which is covered with
a cloth, carried over the left arm.
^Launcelot takes his father's right hand and
rubs it against his left-hand fingers, as if they
were ribs.
*Bassanio can come on with two or three friends
or servants, attendants, etc. ; must be left to circum-
stances. A King, or Prince, or Doge, or Cardinal
should always be attended.
^Launcelot puts his father forward, and bobs.
*Gobbo bobs, and puts his son forward.
THE MERCHANT OF VENICE
on thy chin than Dobbin my fill-horse has on
his tail.
Laun. It should seem, then, that Dobbin's
tail grows backward : I am sure he had more hair
of his tail than I have of my face when I last
saw him.1
Gob. How dost thou and thy master agree? 2
I have brought him a present.
Laun. My master's a very Jew; give him a
present ! give him a halter : I am famished in his
service ;3 you may tell every finger I have with
my ribs. Father, I am glad you are come: give
me your present to one Master Bassanio, who,
indeed, gives rare new liveries: if I serve not
him I will run as far as God has any ground.
O rare fortune! here comes the man: to him,
father; for I am a Jew, if I serve the Jew any
longer.
Enter BASSANio.4
Laun. (R C). To him, father.5
Gob. God bless your worship!
Bass. Gramercy! wouldst thou aught with
me?
Gob. Here's my son, sir, a poor boy, e
37
lLauncelot bobs, and puts his father forward.
2Gobbo bobs, and puts his son forward.
3Launcelot bobs, and puts his father forward.
4Launcelot and father both bob.
N. B. Peasants bob the knee now in parts of
England, instead of bowing.
5Launcelot leads his father to house R. At the
entrance he stops, walks across as if to go in
first, then pauses (old man bobbing all the time)
and drags his father in. Bassanio laughs. Xs
toRC.
^Launcelofs speech can be retained if desired.
THE MERCHANT OF VENICE
Laun. Not a poor boy, sir, but — the rich
Jew's man; that would, sir, as my father shall
specify 1
Gob. He hath a gfeat infection, sir, as one
would say, to serve 2
Laun. To be brief, the very truth is that the
Jew, having done me wrong, doth cause me,
as my father, being, I hope, an old man, shall
f rutify unto you -
Gob. I have here a dish of doves that I
would bestow upon your worship, and my
suit is -
Bass. (L C). One speaks for both. What
would you?
Laun. Serve you, sir.4
Gob. That is the very defect of the matter,
sir.5
Bass. I know thee well; thou hast obtained
thy suit.
Shylock thy master spoke with me this day,
And hath preferred thee. Go, father, with
thy son.
Take leave of thy old master and inquire
My lodging out.6
[Exeunt Launcelot and old Gobbo.
39
lBassanio protests.
40
THE MERCHANT OF VENICE
Enter GRATIANO L.
Gra. (LC). Signior Bassanio!
Bass. (RC). Gratiano!
Gra. I have a suit to you.
Bass. You have obtained it.
Gra. You must not deny me: I must go
with you to Belmont.
Bass. Why, then you must. But hear thee,
Gratiano;
Thou art too wild, too rude and bold of voice;
Pray thee, take pains lest through thy wild
behaviour I be misconstrued in the place I go to
And lose my hopes.
Signior Bassanio hear me:
If I do not put on a sober habit,
Talk with respect and swear;1 but now and then,
never trust me more.
Bass. Well, we shall see your bearing.
Gra. Nay, but I bar to-night: you shall not
gauge me
By what we do to-night.
Bass. No, that were pity:
I would entreat you rather to put on
Your boldest suit of mirth. But fare you well:
I have some business. (Going up steps R C.)
41
lBassanio goes of up R. Gratiano down L.
^Looking around cautiously and taking coin
out of bag which she wears] then the letter; taking
Launcelot aside \ then going back to porch.
N. B. It all has the tone of secrecy. It is a
mistake to make Jessica sympathetic. She is a
designing and cunning person. Her great desire
was to better herself. ; Shylock speaks lovingly of
his wife Leah. It is his one sympathetic moment.
His daughter certainly never contributed to the
peace of his house. Leah perhaps died young.
Even then a daughter's reverence for a mother's
memory should count for something. On the other
hand, it is just possible Shylock was not a good
husband or father, and in that case Jessica had
better have left his money alone. And should we not
be offended with Lorenzo for helping her to steal
it?
THE MERCHANT OF VENICE
Gra. (Xs to L). And I must to Lorenzo and
the rest:
But we will visit you at supper- time.1
[Exeunt R. and L.
Enter JESSICA (2) and LAUNCELOT (i) from
house R.
Jes. R. I am sorry thou wilt leave my father
so:
But fare thee well,2 there is a ducat for thee:
And, Launcelot, soon at supper shalt thou see
Lorenzo, who is thy new master's guest:
Give him this letter; do it secretly;
And so farewell. I would not have my
father
See me talk with thee.
Laun. Adieu! tears exhibit my tongue.
These foolish drops do something drown my
manly spirit: adieu.
Jes. Farewell, good Launcelot.
[Exit Launcelot L.
Alack, what heinous sin is it in me
To be ashamed to be my father's child!
But though I am a daughter to his blood,
I am not to his manners. O Lorenzo,
43
The lights should be lowered slightly.
The young men come on together from up L.
The masquerade has practically commenced in
the city. Occasional distant music can be heard.
lLauncelot runs around wildly as if hunting
for some one. Lorenzo recognizing him as Shy-
lock9 s boy, eventually stops him at L C. Salanio
goes behind, joins Gratiano and Salarino up
RC.
2Tkey all sigh up R C.
zBows and makes as if to start home.
44
THE MERCHANT OF VENICE
If thou keep promise, I shall end this strife,
Become a Christian and thy loving wife.
[Exit into house R.
Enter GRATIANO^), LoRENzo(2), SALARINO(I),
and SALANio(4), all from up L.
Lor. (L C). Nay, we will slink away in
supper-time,
Disguise us at my lodging and return,
All in an hour.
Gra. (R C). We have not made good prep-
aration.
Salar. (R). We have not sp^/ke us yet of
torch-bearers.
Enter LAUNCELOT, with a letter, very hastily
from L.
Lor. Friend Launcelot, what's the news?1
Laun. (L C). An it shall please you to
break up this, it shall seem to signify.
Lor. I know the hand: in faith, 'tis a fair
hand. (Kisses letter) .
Gra. Love news i' faith.2
Laun. By your leave, sir.3
Lor. Whither goest thou?
45
1Lorenzo gives him a coin. Launcelot is getting
rich. He tosses it, bows and goes across to R C.
He here bumps bowing, accidentally, against
Gratiano. He turns, hints that his injuries deserve
a tip, but not getting one, he walks in a very
dignified manner across stage to house, makes an
elaborate bow and exits. They all laugh as he
goes off; then consult together.
THE MERCHANT OF VENICE
Laun. Marry, sir, to bid my old master the
Jew to sup to-night with my new master the
Christian.
Lor. Hold, here, take this, tell gentle Jessica
I will not fail her; speak it privately.1
[Exit Launcelot R.
Go, gentlemen,
Will you prepare you for this masque to-night?
I am provided of a torch-bearer. Meet me and
Gratiano at Gratiano's lodging some hour
hence.
Solar. 'T is good we do so.
[Exeunt Solar, and Salon, up steps and of L.
Gra. (R C). Was not that letter from fair
Jessica?
Lor. (L C). I must needs tell thee all. She
hath directed
How I shall take her from her father's house,
What gold and jewels she is furnished with,
What page's suit she hath in readiness.
Come, go with me; peruse this as thou goest:
(Kisses hand to balcony R.)
Fair Jessica shall be my torch-bearer.
[Exeunt up L.
The stage has now become darker.
47
1 Jessica makes a movement to take the keys.
Shylock withdraws his hand with keys in it.
2Shylock's whole speech may be spoken. I have
purposely omitted in this stage arrangement as
much reference as possible to the then existing dis-
like of Jews for Christians and Christians for
Jews. Personally I never could and never shall
knock into my possibly stupid head that Shakes-
peare intended to typify more than mere contrasts
of character. Christians might just as well take
personal offence at Richard III and others; and,
in this very play, at young snobs like Gratiano and
Lorenzo. But I imagine most sensible people
enjoy the fun he makes of the cock-sure young
dandies of the day who imagine that the entire town
belongs to them. These young people seem to me
to be with us to-day, just as they were three hun-
dred years ago.
48
THE MERCHANT OF VENICE
Enter SHYLOCK (2) and LAUNCELOT (i) from
house R.
Shy. (R). Well, thou shalt see, thy eyes shall
be thy judge,
The difference of old Shylock and Bassanio : -
What, Jessica! — thou shalt not gormandize,
As thou hast done with me: — What, Jessica! -
And sleep and snore, and rend apparel out; -
Why, Jessica, I say! (Impatiently.)
Laun. (down L). Why, Jessica!
Shy. (R). Who bids thee call? I do not
bid thee call.
Laun. Your worship was wont to tell me
that I could do nothing without bidding.
(Enter JESSICA from house R.)
Jess. (R). Call you? what is your will?
Shy. (RC). I am bid forth to supper, Jessica :
There are my keys.1 But wherefore should
I go?
There is some ill a-brewing towards my rest,
For I did dream of money-bags to-night.2
(Xs to R.)
Shylock's whole speech may be spoken.
Laun. (L). I beseech you, sir, go: my young
master doth expect your reproach.
49
1 Jessica, who has crossed to L C, tries to silence
Launcelot as he lets out about the masque.
2Shylock, who is R, turns quickly and goes C.
Launcelot, afraid, goes down L. Jessica comes L C.
3 Half inclined not to go, he unties scarf.
*Binds it around again.
bStill undecided, crosses to house R.
*Goes into house R. Gets lantern, stick, and
hat.
^Whispers this.
^Reappears at door with lantern, stick, and hat on.
THE MERCHANT OF VENICE
Shy. (K). So do I his.
Laun. (L). An they have conspired together,
I will not say you shall see a masque.1
Shy.2 What, are there masques? (Xs to C.)
Hear you me, Jessica! (Gives her the keys.)
Lock up my doors; and when you hear the drum
And the vile squealing of the wry-necked fife,
Clamber not you up to the casements then,
To gaze on Christian fools with varnished faces;
Let not the sound of shallow foppery enter
My sober house. By Jacob's staff, I swear,
I have no mind of feasting forth to-night3:
But I will go.4 Go you before me, sirrah5;
Say I will come6;
Laun. (Xs to R). I will go before, sir.7
Mistress, look out at window, for all this;
There will come a Christian by,
Will be worth a Jewess' eye.
(Exit up R. behind house.)
Shy. What says that fool of Hagar's off-
spring, ha?8
Jes. L. His words were ' ' Farewell mistress ' ' ;
nothing else. (A deliberate fib!)
Shy. (R C). The patch is kind enough, but a
huge feeder;
51
lTurns to go into house.
^Jessica, taken by surprise, drops keys L C.
Shylock motions for her to pick them up; she
does so.
*Shylock thinking Jessica is hesitating for a
parental kiss, he takes her by the hand to give
advice, and at the end, kisses her forehead.
4Nods familiarly to her and goes off the stage
behind house R C (or up steps of. R).
5 Jessica pauses; then goes up quietly to see if he
has gone; then comes down and goes hastily into
house. (Compare Jessica, Regan, and Goneril.}
* Lights should be lowered as it's now past sunset.
A little masque music can be played here.
Masquers can enter to make a short pause be-
tween Skylock's exit and the masquers' entrance.
If masquers are on the stage they must be still
during Lorenzo's speeches, but they can join in the
escapade. All listening, etc. Music pp.
THE MERCHANT OF VENICE
Snail-slow in profit, and he sleeps by day
More than the wild cat.1 Well, Jessica, go in:
Perhaps I will return immediately2:
Do as I bid you; shut doors after you3:
Fast bind, fast find;
A proverb never stale in thrifty mind.4
(Exit up R.)
Jes* Farewell; and if my fortune be not
crost, I have a father, you a daughter, lost.6
(Exit into house R.)
Enter GRATIANO and SALARINO, masqued, from
up R.
Gra. (Xs to R). This is the pent-house under
which Lorenzo
Desired us to make stand.
Salar. (L). His hour is almost past.
Gra. And it is marvel he out-dwells his hour,
For lovers ever run before the clock.
Enter LORENZO L U.
Lor. (C). Sweet friends, your patience for
my long abode;
Not I, but my affairs, have made you wait:
Here dwells my father Jew. (Xs to R.} Ho!
who's within?
53
lThe masquers should all have lanterns hidden.
Jessica speaks in an undertone, as if it were the
middle of the night. All the people half hide and
listen, making the scene very picturesque. It is
moonlight now. Music very soft from distance,
up L.
2She throws it down. Lorenzo catches it, throws
it at Gratiano, who is L C. Gratiano throws it
to Salarino and Salanio, who are L.
37 have wondered if some of our zealous education-
alists have ever studied the character of this detest-
able young woman. It is very easy nowadays to
condemn the Jew of Shakespeare's time as a money
grubber; but have these same zealots the courage to
point out to the present generation of dominating
sons and daughters the filial impiety of this selfish
child? I fancy not.
54
THE MERCHANT OF VENICE
Enter JESSICA, above, in boy's clothes on the bal-
cony over porch.
Jes.1 Who are you? Tell me, for more
certainty,
Albeit I'll swear that I do know your tongue.
Lor. (R C). Lorenzo, and thy love.
Jes. Lorenzo, certain, and my love indeed,
For who love I so much? And now who knows
But you, Lorenzo, whether I am yours?
Lor. (R). Heaven and thy thoughts are
witness that thou art.
Jes. Here, catch this casket;2 it is worth the
pains.
I am glad 'tis night, you do not look on me,
For I am much ashamed of my exchange:
But love is blind, and lovers cannot see
The pretty follies that themselves commit;
For if they could, Cupid himself would blush
To see me thus transformed to a boy.
Lor. Descend, for you must be my torch-
bearer.
Jes. I will make fast the doors, and gild
myself
Withsome more ducats^andbe with youstraight.3
[Exit above.
55
lPronounced "Gentle"; it is here a play upon
the word Gentile.
2 Jessica here runs out in big disguise cloak.
Lorenzo puts his arms around her. She throws
keys down by door. They go off U L.
3There can be a dance here as upon Carnival.
*At the exit of Lorenzo and Jessica there is a
general confusion of masquers. In the middle of
the turmoil Antonio enters (also Shylock if deemed
advisable); they are returning from the dinner. As
the sounds die away, Antonio sees Gratiano;
they go off L. Shylock watches his opportunity
to go unobserved to the house. He finds the keys
thrown under the porch. He nervously picks them
up, looks around and opens the door as the curtain
falls. Distant music and laughter.
END OF ACT II.
Note: There are many ways of finishing this
scene. Undoubtedly Shakespeare' fs own stage
directions are best; but where our modern play-
goers demand effective "curtains" I am inclined
to think these directions are the most probable.
Candidly I do not believe Shylock would rush
around the house smashing up his own crockery,
etc.
56
THE MERCHANT OF VENICE
Gr a. (L C). Now, by my hood, a Gentile1 and
no Jew.
Lor. (R C). Beshrew me but I love her
heartily;
For she is wise, if I can judge of her,
And fair she is, if that mine eyes be true,
And true she is, as she hath proved herself,
And therefore, like herself, wise, fair and true,
Shall she be placed in my constant soul.2
Enter JESSICA, below.
What, art thou come? On, gentlemen; away
Our masquing mates by this time for us stay.3
(Exit with Jessica and Salarino up L.)
Enter ANTONIO from R C.4
Ant. Who's there?
Gra. Signior Antonio!
Ant. Fie, fie, Gratiano ! where are all the rest?
5T is nine o'clock: our friends all stay for you.
No masque to-night; the wind is come about;
Bassanio presently will go abroad:
I have sent twenty out to seek for you.
Gra. I am glad on 't; I desire no more delight
Than to be under sail and gone to-night.
[Exeunt off L C; other masquers following.
END OF ACT II.
57
I0ne of the attendants (or two), draw large
curtains apart at C opening.
N . B. The curtains should be really pulled by
lines strung on separate rails from one side of the
opening, and behind the scene; and thus appear to
be pulled by the attendants. Have this done to
time, or it appears awkward to an audience.
Always assume that your audience does notice such
things. It is apt to say things are splendid in
the theatre; but outside, opinions change!
^Portia goes R C, Nerissa comes to her R.
Other attendants are R C, L C. Morocco^
attendants remain at the L side.
The various Princes go up L C to the top side
of the table, so that they are facing the audience.
There are various arrangements of this scene.
But I believe this to be the best for the audience
and the actors.
ACT III.
SCENE I. Belmont. A room in PORTIA'S house.1
Enter PORTIA and NERissA.2 Or they are dis-
covered working a tapestry C on seat centre.
For. (C to L). By my troth, Nerissa, my
little body is aweary of this great world.
Ner. (C to K). You would be, sweet madam,
if your miseries were in the same abundance as
your good fortunes are: superfluity comes sooner
by white hairs, but competency lives longer.
For. Good sentences and well pronounced.
Ner. They would be better, if well followed.
For. If to do were as easy as to know what
were good to do, chapels had been churches,
and poor men's cottages princes' palaces. It
is a good divine that follows his own instruc-
tions :\I^:an easier teach twenty what were
good to be done, than bo^one of the twenty
to follow mine own teachingT But this reason-
59*— -1*
This scene must be taken brightly. Portia is a
delicious person, and has a keen sense of humour.
The scene is full of crisp wit, and should be made
so by the performers. They can be seated; or on
the Shakespearian stage would, of course, enter.
Nerissa is a companion; not a waiting woman, like
Maria.
Drop • a. Venetian palace.
The same platform can be used
CUD ( ) CZD Caskets here on a table
THE MERCHANT OF VENICE
ing is not in the fashion to choose me a husband.
O me, the word choose! I may neither choose
whom I would nor refuse whom I dislike; so
is the will of a living daughter curbed by
the will of a dead father. Is it not hard,
Nerissa, that I cannot choose one nor refuse
none?
Ner. Your father was ever virtuous; and
holy men at their death have good inspirations:
therefore the lottery that he hath devised in
these three chests of gold, silver and lead, where-
of who chooses his meaning chooses you, will,
no doubt, never be chosen by any rightly but
one who shall rightly love. But what warmth
is there in your affection toward any of these
princely suitors that are already come?
For. I pray thee, over-name them; and as
thou namest them, I will describe them; and,
according to my description, level at my affec-
tion.
Ner. First, there is the Neapolitan prince.
For. Ay, that's a colt indeed, for he doth
nothing but talk of his horse;
Ner. Then there is the County Palatine.
For. He doth nothing but frown. I had
61
lShe here measures Mm with her hand as being
very short; they both laugh.
2They laugh.
z Portia points up in the direction of the caskets,
which are now concealed behind a curtain.
62
THE MERCHANT OF VENICE
rather be married to a death's-head with a bone
in his mouth, than to either of these.
Ner. How say you by the French lord,
Monsieur Le Bon?
For. God made him,1 and therefore let him
pass for a man.
Ner. What say you, then, to Falconbridge,
the young baron of England?
For. You know I say nothing to him, for
he understands not me, nor I him. How oddly
he is suited! I think he bought his doublet
in Italy, his round hose in France, his bonnet
in Germany, and his behaviour everywhere.2
Ner. How like you the young German, the
Duke of Saxony's nephew?
For. Very vilely in the morning, when he
is sober, and most vilely in the afternoon, when
he is drunk: when he is best, he is a little worse
than a man, and when he is worse, he is little
better than a beast.
Ner. If he should offer to choose, and choose
the right casket, you should refuse to perform
your father's will, if you should refuse to accept
him.
For? Therefore, for fear of the worst, I
63
lLoud laugh from both.
*A trumpet sound is heard outside up L.
The trumpet call conveys the idea that it is a
Venetian; which gives the cue for Nerissa's remark.
THE MERCHANT OF VENICE
pray thee, set a deep glass of rhenish wine on
the contrary casket, for if the Devil be within
and that temptation without, I know he will
choose it. I will do anything, Nerissa, ere
I'll be married to a sponge.1
Ner. You need not fear, lady, the having
any of these lords: they have acquainted me
with their determinations; which is, indeed,
to return to their home and to trouble you with
no more suit, unless you may be won by some
other sort than your father's imposition, de-
pending on the caskets.
For. I am glad this parcel of wooers are so
reasonable, for there is not one among them
but I dote on his very absence: and I wish
them a fair departure.2
Ner. Do you not remember, lady, in your
father's time, a Venetian, a scholar and a soldier,
that came hither in company of the Marquis
of Montferrat?
For. Yes, yes, it was Bassanio — as I think,
so was he called.
Ner. True, madam: he, of all the men that
ever my foolish eyes looked upon, was the best
deserving a fair lady.
6s
THE MERCHANT OF VENICE
For. I remember him well, and I remember
him worthy of thy praise.
Enter a Serving-Man (BALTHASAR) up L.
How now! What news?
Serv. The four strangers seek for you,
madam, to take their leave: and there is a
forerunner come from a fifth, the Prince of
Morocco, who brings word the Prince his master
will be here to-night.
For. If I could bid the 'fifth welcome with
so good a heart as I can bid the other four
farewell, I should be glad of his approach.
Come Nerissa. Sirra, go before (servant exits
up L) ; whiles we shut the gate upon one wooer,
another knocks at the door.
(PORTIA and NERISSA remain on stage at R.)
Reenter BALTHASAR up L very excitedly to warn
them the Prince is approaching.
(Continuous — no change of scene)
Flourish of cornets. Enter the PRINCE OF
MOROCCO, followed by his train, PORTIA, NER-
ISSA, and others curtseying. NERISSA goes R
near PORTIA; the others group up R and L.
There should be several attendants with the
lTwo attendants draw aside curtains; if there are
no curtains omit the words. Have the caskets
arranged on a table up C, lead in the centre, gold
R, silver L. The Prince goes up behind the table,
and stands over it facing the audience.
68
THE MERCHANT OF VENICE
Prince, who go down L. Prince bows, saluting
Portia. All attendants bow.
Mor. (L C). Mislike me not for my com-
plexion,
The shadowed livery of the burnished sun,
To whom I am a neighbour and near bred.
For. (R C). In terms of choice I am not
solely led
By nice direction of a maiden's eyes;
Besides, the lottery of my destiny
Bars me the right of voluntary choosing:
Mor. Therefore, I pray you, lead me to
the caskets
To try my fortune.
For. You must take your chance,
And either not attempt to choose at all,
Or swear before you choose, if you choose wrong,
Never to speak to lady afterward
In way of marriage: therefore be advised.
Mor. Nor will not. Come, bring me unto
my chance.
For. Go draw aside the curtains and dis-
cover
The several caskets to this noble prince.1
Now make your choice.
69
The speeches of the suitors can, 0} course, be
spoken without cuts.
THE MERCHANT OF VENICE
Mor. How shall I know if I do choose the
right?
For. The one of them contains my picture,
Prince:
If you choose that, then I am yours withal.
Mor. (up C). Some god direct my judgment!
Let me see;
What says this leaden casket? (Reading
inscriptions on lid of casket.)
"Who choose th me must give and hazard all
he hath."
Must give: for what? for lead? hazard for lead?
This casket threatens. Men that hazard all
Do it in hope of fair advantages:
A golden mind stoops not to shows of dross;
I'll then nor give nor hazard aught for lead.
WThat says the silver with her virgin hue?
"Who choose th me shall get as much as he
deserves. "
As much as he deserves ! Pause there, Morocco,
And weigh thy value with an even hand:
What if I strayed no further, but chose here?
Let's see once more this saying graved in gold:
"Who choose th me shall gain what many men
desire. "
71
1A page at right goes to Portia. She takes a key
from her chain, and gives it to the page, who carries
a small cushion.
lHe goes to the Prince and bows, offering key.
From point of table the Prince takes it. The
page bows and goes again to the right.
^Prince opens casket.
N. B. The caskets should have their lids
attached to leather or tape so that they do not fall
open. They open backs to audience. Be sure
and have the contents there, before the act is com-
menced.
Gold 72, Lead C, Silver L, of speaker.
Prince of Morocco
72
THE MERCHANT OF VENICE
Why, that's the lady; all the world desires
her;
From the four corners of the earth they come,
To kiss this shrine, this mortal-breathing
saint.
One of these three contains her heavenly
picture.
Isn't like that lead contains her? 'Twere
damnation
To think so base a thought: it were too gross
To rib her cerecloth in the obscure grave.
Or shall I think in silver she's immured,
Being ten times undervalued to tried gold?
O sinful thought! Never so rich a gem
Was set in worse than gold. They have in
England
A coin that bears the figure of an angel
Stamped in gold, but that's insculped upon;
But here an angel in a golden bed
Lies all within. Deliver me the key:
Here do I choose, and thrive I, as I may!1
For. There, take it, Prince; and if my form
lie there,
Then I am yours. [He unlocks the golden casket.}2-
Mor. What have we here?
73
1 This is a small skully but can not be seen, as
the lid of the casket is up on the audience side.
The Prince appears to take the small scroll
out of the skull. Unfolds it and reads. When
ready he drops the scroll quietly into the box.
2He goes around L C from back of table, goes
across to Portia, who comes forward, meeting him
C. Kisses her hand.
*Goes up stage to Lz entrance. The group
separates so that he goes of clearly, all bowing and
curtseying till Prince is of. Pause: a moment.
A general movement; attendants close the curtains.
^Flourish of trumpets at change of scene; and as
signal of departing Prince.
Drop for first scene comes down. If Shake-
speare Theatre, all characters exit up L. Salarino
and Salanio come quickly from down R and L,
meeting each other.
74
THE MERCHANT OF VENICE
A carrion Death,1 within whose empty eye
There is a written scroll! I'll read the writing.
[Reads.]
All that glisters is not gold;
Often have you heard that told:
Many a man his life hath sold
But my outside to behold:
Gilded tombs do worms infold.
Had you been as wise as bold,
Young in limbs, in judgement old,
Your answer had not been inscrolled:
Fare you well; your suit is cold.
[Lets scroll fall into box.
Cold, indeed; and labour lost;
Then, farewell, heat, and welcome, frost!
Portia, adieu.2 I have too grieved a heart
To take a tedious leave3: thus losers part.
[Exit with his train.4
For. A gentle riddance. Draw the cur-
tains, go.
Let all of his complexion choose me so.
[Exeunt up L.
SCENE II. A street
Enter SALARINO and SALANIO/T-^W Ri and\L.
Solar. Why, man, I saw Bassanio under sail:
With him is Gratiano gone along;
75
In the Shakespeare Theatre rapidity of action,
entrances, business, enables the actors to give the
entire play in less time than a condensed scenic
performance.
In this acting version a drop will descend
in the front of the stage, leaving little more than
room for the actors to cross each other.
This scene is most important for the devel-
opment of the plot and is played very rapidly.
Every one must be ready for the "Aragon" scene.
See that the caskets and a chair R for Portia are
ready. Seats cannot be used in the Belmont
scenes except for the Bassanio scene: as he is not a
prince the friends of Portia can be seated.
Salanio and Salarino need not take the scene
seriously, until the serious moment, but they must
not play for laughs.
76
THE MERCHANT OF VENICE
And in their ship I am sure Lorenzo is not.
Salan. The villain Jew with outcries raised
the Duke,
Who went with him to search Bassanio's ship.
Salar. He came too late, the ship was under
sail:
But there the Duke was given to understand
That in a gondola were seen together
Lorenzo and his amorous Jessica.
Salan. I never heard a passion so confused,
As the dog Jew did utter in the streets:
"My daughter! O my ducats! O my daugh-
ter!
Fled with a Christian! 0 my Christian ducats!
And jewels, two stones, two rich and precious
stones,
Stolen by my daughter! Justice! find the
girl;
She hath the stones upon her, and the ducats. "
Salar. Why, all the boys in Venice follow him
Crying, his stones, his daughter, and his ducats.
Salan. Let good Antonio look he keep his
day,
Or he shall pay for this. (Seriously.)
Salar. Marry,' well remembered.
77
lTrumpets are heard at opening of scene.
They continue till the Prince leading Portia,
her friends and his friends are on. He should
be a small, self-satisfied being, in direct contrast
to both Morocco and Bassanio.
THE MERCHANT OF VENICE
I reasoned with a Frenchman yesterday,
Who told me, in the narrow seas that part
The French and English, there miscarried
A vessel of our country richly fraught:
I thought upon Antonio when he told me;
And wished in silence that it were not his.
Solan. You were best to tell Antonio what
you hear;
Yet do not suddenly, for it may grieve him.
Solan. I pray thee, let us go and find him
out (going L)
And quicken his embraced heaviness
With some delight or other.
Salar. (Xs to him.) Do we so.
[Exeunt together of L.
SCENE III
Belmont. A room in PORTIA'S house.
Very brightly. Enter NERISSA with B ALTHASAR
from up L.
ARAGON is almost too small to lead PORTIA on,
but he attempts it. Same disposition of characters
as in MOROCCO scene. Music plays each time off
stage pp.1
79
llf: failure seems an impossibility to him.
-This is where the "I" needs to be emphasized.
Please be careful not to emphasize the personal
pronouns; it is impolite and bad English to do so.
Note: In this particular case: where the speaker
is so self-important, it would be "I" "my," and
"mine" all the time. Shakespeare carefully places
the particles as the accented syllables — a rare
occurrence — please note.
THE MERCHANT OF VENICE
Ner. Quick, quick, I pray thee; draw the
curtain straight:
The Prince of Arragon hath ta'en his oath,
And comes to his election presently. (Goes R.)
Parish of cornets. Enter the PRINCE OF
ARRAGON, PORTIA, and their trains.
For. (R C). Behold, there stand the caskets,
noble Prince:
If you choose that wherein I am contained,
Straight shall our nuptial rites be solemnized:
But if you fail, without more speech, my lord,
You must be gone from hence immediately.
Ar. I am enjoined by oath to observe three
things:
First, never to unfold to any one
Which casket 't was I chose; next, if I fail1
Of the right casket, never in my life
To woo a maid in way of marriage;
Lastly, if 72 do fail in fortune of my choice,
Immediately to leave you and be gone.
For. To these injunctions every one doth
swear
That comes to hazard for my worthless self.
(Portia sits R.)
81
lThe Prince goes up L C, to above table, giving
his hat to an attendant L C. Portia goes to R C
and sits watching; and undoubtedly amused.
2 As eyeglasses had come into fashion, it is
possible this Prince would hold one.
*Such slight omissions can be left to the dis-
cretion of the manager. Always remembering
that two hours is a good limit for college plays.
THE MERCHANT OF VENICE
Ar. And so have I addressed me. Fortune
now
To my heart's hope!1 Gold; silver; and base
lead.
"Who chooseth me must give and hazard all
he hath."
What says the golden chest? ha! let me
see2:
"Who chooseth me shall gain what many men
desire. "
What many men desire! that many may be
meant
By the fool multitude, that choose by show,
Not learning more than the fond eye doth teach;
I will not choose what many men desire,
Because I will not jump with common spirits
And rank me with the barbarous multitudes.
Why, then to thee, thou silver treasure-house;
Tell me once more what title thou dost bear:
"Who chooseth me shall get as much as he
deserves;"
And well said too; for who shall go about
To cozen fortune and be honorable
Without the stamp of merit? Let none presume
To wear an undeserved dignity.3
83
lOn opening the casket the Prince gives a look
of disgust; as Morocco had given one of horror
and real distress.
2The scroll is held by a bauble or doll, almost
like our modern Punchinello.
3 The pronunciation of schedule must be left
to custom. Shakespeare, or his copyist, in several
places spells it scedule and skedule, as in "scheme"
It is only an old English custom or fancy that calls
it "schedule." In New England I hear it always
pronounced with the k.
4He holds up the bauble, then drops it into the
box with the scroll.
bComes down to Portia R C, who rises. All
curtsey.
* Prince and attendants make elaborate bows and
flourishes. Trumpets sound till they are well off.
Then Portia and her friends go into uncontrolled
fits of laughter.
The attendants up R and L must help all these
scenes by entering into the fun, or the seriousness
of them, according to the situations.
THE MERCHANT OF VENICE
"Who chooseth me shall get as much as he
deserves. "
I will assume desert. Give me a key for this,
And instantly unlock my fortunes here.1
(He opens the silver casket.}
For. Too long a pause for that which you
find there.
Ar. What's here? the portrait of a blinking
idiot,2
Presenting me a schedule !3 I will read it.
How much unlike art thou to Portia!
[ Reads.] The fire seven times tried this:
Seven times tried that judgement is,
That did never choose amiss.
Some there be that shadows kiss;
Such have but a shadow's bliss:
There be fools alive, I wis,
Silvered o'er; and so was this.
Still more fool I shall appear
By the time I linger here:
With one fool's head I came to woo,
But I go away with — two.4
Sweet, adieu.5 I'll keep my oath,
Patiently to bear my wroth.6
[Exeunt An agon and train up L.2.
8s
Curtains are drawn as before.
*Every one listens with great expectation to this
speech.
^General excitement, and bustle at the end of
this scene.
4They go of quickly; all the friends following as
drop descends.
N. B. It is a good plan — where scenery can
be used - — to have the lights checked for curtains.
I would lower gradually, not suddenly; so that the
pictures fade: the same when lights are raised.
Let it be gradually. • It also gives the audience
a breathing moment. Unless otherwise indicated,
the scenes are in daylight.
86
THE MERCHANT OF VENICE
For. Thus hath the candle singed the moth.
For. Come, draw the curtain, Nerissa1
Serv. (L). Where is my lady?
For. (R C). Here: what would my lord?
(Laughing.)
Serv. (L C).2 Madame, there is alighted at
your gate
A young Venetian, one that comes before
To signify the approaching of his lord;
A day in April never came so sweet,
To show how costly summer was at hand,
As this fore-spurrer comes before his lord.
For. No more, I pray thee:3 1 am half afeard
Thou wilt say anon he is some kin to thee,
Thou spend'st such high-day wit in praising him.
Come, come, Nerissa; for I long £o see
Quick Cupid's post that comes so mannerly.
Ner. Bassanio, lord Love, if thy will it be!
[Exeunt all very joyfully.4'
SCENE IV. Venice. A street.
Enter SALANIO and SALARINO at opposite
entrances L and R.
Solan. (L). Now, what news on the Rial to?
Solar. (R). Why, yet it lives there unchecked
87
lBefore Shylock enters there should be a distant
buzz, as of a crowd off Ri. Distant murmurs,
shouts, music, etc., should be very carefully man
aged and are tremendously effective, if so done.
There should always be a super-master where
possible; he arranges and sees to such things.
Women prompters are the best; they have so
much more concentration and patience.
88
THE MERCHANT OF VENICE
that Antonio hath a ship of rich lading wracked
on the narrow seas; the Goodwins, I think they
call the place; a very dangerous flat, and fatal,
where the carcases of many a tall ship lie buried,
as they say, if my gossip report be an honest
woman of her word.
Solan. I would she were as lying a gossip
in that as ever knapped ginger or made her
neighbours believe she wept for the death of a
third husband. But it is true, without any
slips of prolixity or crossing the plain highway of
talk, that the good Antonio, the honest Antonio,
- O that I had a title good enough to keep
his name company!
Solar. Come, the full stop.
Solan. Ha! what sayest thou? Why, the
end is, he hath lost a ship.
Salar. I would it might prove the end of his
losses.
Salon. Let me say Amen betimes, lest the
devil cross my prayer, for here he comes in
the likeness of a Jew.
Enter Sa\LOCKlfrom R hurriedly, as if chased by
a crowd; he goes right across stage, if there is a seat,
89
THE MERCHANT OF VENICE
he sinks exhausted on it. The young men almost
spit at him as he passes; then follow him up.
How now, Shylock! what news among the
merchants?
Shy. (L). You knew, none so well, none so
well as you, of my daughter's flight.
Salar. (K). That's certain; I, for my part,
knew the tailor that made the wings she flew
withal.
Solan. (R C). And Shylock, for his own part,
knew the bird was fledged; and then it is the
complexion of them all to leave the dam.
Shy. She is damned for it. (Rising.)
Salar. That's certain, if the Devil may be
her judge.
Shy. My own flesh and blood to rebel!
(Crossing to C.)
Salar. (Xs to L C). There is more difference
between thy flesh and hers than between jet and
ivory; more between your bloods than there is
between red wine and rhenish. But tell us
(taking hold of him) , do you hear whether Antonio
have had any loss at sea or no?
Shy. (C). There I have another bad match:
a bankrupt, a prodigal, who dare scarce show his
01
THE MERCHANT OF VENICE
head on the Rial to; a beggar, that was used to
come so smug upon the mart; let him look to
his bond: he was wont to call me usurer; let
him look to his bond: he was wont to lend
money for a Christian courtesy; let him look to
his bond.
Salar. Why, I am sure, if he forfeit, thou
wilt not take his flesh: what's that good for?
(Going close to him.)
Shy. To bait fish withal: if it will feed noth-
ing else, it will feed my revenge. He hath
disgraced me, and hindered me half a million;
laughed at my losses, mocked at my gains,
scorned my nation, thwarted my bargains,
cooled my friends, heated mine enemies;
and what's his reason? I am a Jew. Hath
not a Jew eyes? hath not a Jew hands, organs,
dimensions, senses, affections, passions? Fed
with the same food, hurt with the same weapons,
subject to the same diseases, healed by the same
means, warmed and cooled by the same winter
and summer as a Christian is. If you prick us, do
we not bleed? If you tickle us, do we not laugh?
If you poison us, do we not die? and if you wrong
us, shall we not revenge? If we are like you in
93
lShylock can sit in this scene if it is in the
Elizabethan or Shakespearian manner, as the
stools will be placed. If with scenery it is difficult
to have seats and stools in front scenes; but the
power of the scene is such that it can be played in
any form.
94
THE MERCHANT OF VENICE
the rest we will resemble you in that. If a Jew
wrong a Christian, what is his humility, revenge!
If a Christian wrong a Jew, what should his
sufferance be by Christian example, why re-
venge! The villainy you teach me I will exe-
cute, and it shall go hard but I will better the
instruction. (Crosses to L.)
Enter TUBAL R.
(The young men spit on TUBAL as he comes
across to SHYLOCK.)
Salan. (R). Here comes another of the tribe:
a third cannot be matched, unless the Devil
himself turn Jew.
[Exeunt SALAN., SALAR., and Servant.
Shy. (L).1 How now, Tubal ! what news from
Genoa? hast thou found my daughter?
Tub. (L C}. I often came where I did hear
of her, but cannot find her.
Shy. Why, there, there, there, there! a
diamond gone, cost me two thousand ducats in
Frankfort! The curse never fell upon our
nation till now. I never felt it till now: two
thousand ducats in that; and other precious,
precious jewels. I would my daughter were
95
lShylock sinks on to stool or in TubaVs arms.
2Shylock looks up here expectantly.
3Shylock almost tears Tubal to pieces here.
4A deep thanksgiving; hands raised, then
clasped.
^Joyfully.
*Tubal must be serious all through.
1Shylock almost staggers; then with hate and
regret.
N.B. Dissertations on the character of Sky lock
have occupied too many pages. Shakespeare
wrote it in a humorous vein. Custom has per-
verted it to a serious character. If any actor can
be superb in either view of the part, he will be
blessed by his generation. Failing of these points
of view, a compromise is advisable. But, from any
point of view, it is as unnecessary for the Jews to feel
o fence as for the Scots to be annoyed over Macbeth;
and, after all, no nation is full of perfect men and
women.
THE MERCHANT OF VENICE
dead at my foot, and the jewels in her ear:
would she were hearsed at my foot, and the
ducats in her coffin. No news of them? Why,
so: and I know not what's spent in the search:
why, thou loss upon loss! the thief's gone with
so much, and so much to find the thief; and
no satisfaction, no revenge: nor no ill luck stir-
ring but what lights on my shoulders; no sighs
but of my breathing; no tears but of my shed-
ding.1
Tub. Yes, other men have ill luck too2:
Antonio, as I heard in Genoa, -
Shy.3 What, what, what? ill luck, ill luck?
Tub. Hath an argosy cast away, coming from
Tripolis.
Shy. I thank God, I thank God.4 Is 't true,
is 't true?
Tub. I spoke with some of the sailors that
escaped the wrack. (Old word for wreck.)
Shy.5 I thank thee, good Tubal: good news,
good news! ha, ha! where? in Genoa? (Laugh-
ing through his hate.)
Tub.6 Your daughter spent in Genoa, as
I heard, in one night fourscore ducats.
Shy. Thou stick'st a dagger in me7: I shall
97
lTubal speaks as the real business-like merchant.
Shylock undoubtedly feels the loss of his jewels
and the desire to realize his wager with Antonio.
* Almost draws his knife
zlt is rather difficult to know if Tubal meant to
stir Shylock to revenge, but it is certainly a bad
thrust.
^Strange to say, it calls forth the one pathetic
moment in Shylock 's stage existence. Leah and
Tubal seem to be the only people he ever cared j or.
He certainly mistrusted his daughter. The at-
tempt to whitewash Jessica is one of the silly tradi-
tions — it probably had to be acted by the stock
"ingenue" — she is one of Shakespeare's six un-
pleasant women.
bT his should be spoken in a torrent of rage and
cupidity.
*Tubal goes of R, Shylock L.
If Elizabethan, Shylock goes up to door, R U,
and Tubal exits down Ri.
7Check lights. Drop descends.
98
THE MERCHANT OF VENICE
never see my gold again: fourscore ducats at a
sitting! fourscore ducats!
Tub.1 There came divers of Antonio's cred-
itors in my company to Venice, that swear he
cannot choose but break.
Shy. I am very glad of it: I'll plague him;2
I'll torture him: I am glad of it. (Here his venge-
ful joy almost masters him.)
Tub? One of them showed me a ring that
he had of your daughter for a monkey.
Shy* Out upon her! Thou torturest me,
Tubal: it was my turquoise; I had it of Leah
when I was a bachelor: I would not have given
it for a wilderness of monkeys. (He almost falls
into TubaVs arms, and weeps.)
Tub. But Antonio is certainly undone.
Shy. Nay, that's true, that's very true.
Go, Tubal, fee me an officer; bespeak him a
fortnight before. (Quicken pace here till end.)
I will have the heart of him, if he forfeit;5 for,
were he out of Venice, I can make what
merchandise I will. Go, go, Tubal, and meet
me at our synagogue; go, good Tubal; at our
synagogue, Tubal.6 [Exeunt.
99
// would be better for the characters here to be
discovered when drop ascendsy and lights go up.
lPeize is a French word to weigh out the time;
to poise — pronounced pays.
*Bassanio goes up to table LC to C. Nerissa
and the rest go up a little R and L. All silent.
Portia sits on seat R C.
*The music sounds, then the song and chorus.
There are many beautiful settings to this song.
(See Chappell.)
If possible the musicians should be on the stage
in correct costumes. There should not be more than
four or five at most. All should join in the refrain
with the action of pulling the ropes of large bells.
Suggestive of a wedding, of course. The music
continues very softly through Bassanio's speech.
100
THE MERCHANT OF VENICE
SCENE V. Belmont. A room in PORTIA'S house.
Enter BASSANIO, PORTIA, GRATIANO, NERISSA,
and Attendants, full of joyous expectation.
For. (R C). I pray you, tarry: pause a day or
two
Before you hazard; for, in choosing wrong,
I lose your company: therefore forbear awhile.
I speak too long; but 'tis to peize the time,
To eke it and to draw it out in length,
To stay you from election.1
Bass. Let me choose;
For as I am, I live upon the rack.
For. Away, then! I am locked in one of
them.
If you do love me, you will find me out.2
Nerissa and the rest, stand all aloof.
Let music sound while he doth make his choice;
Then, if he lose, he makes a swan-like end,
Fading in music3:
Music, whilst BASSANIO comments on the caskets
to himself.
lThere is a movement amongst the people.
Portia has been watching this scene with intentness.
She is seated.
N. B. The point has been raised as to whether
Portia knew which the right casket was. I can
but say — "Of course she did" — she says so
herself. It is part of her beautiful nature that she
did not reveal it to any of the many suitors who
had sought her hand.
102
THE MERCHANT OF VENICE
SONG
Tell me where is fancy bred,
Or in the heart or in the head?
How begot, how nourished?
Reply, reply.
It is engendered in the eyes,
With gazing fed; and fancy dies
In the cradle where it lies.
Let us all ring fancy's knell:
I'll begin it — Ding, dong, bell.
All. Ding, dong, bell. (As if ringing bells.)
Bass. So may the outward shows be least
themselves:
The world is still deceived with ornament.
In law, what plea so tainted and corrupt
But, being seasoned with a gracious voice,
Obscures the show of evil?
Thus ornament is but the guiled shore
To a most dangerous sea; the beauteous scarf
veiling an Indian beauty. (Music stops.)
Therefore, thou gaudy gold,
Hard food for Midas, I will none of thee;
Nor none of thee, thou pale and common drudge
'Tween man and man: but thou, thou meagre
lead,1
103
lThis is said almost with ecstasy.
2He takes a miniature out, looks at it, replaces
it, takes scroll; after reading drops it in box.
104
THE MERCHANT OF VENICE
Which rather threat'nest than dost promise
aught,
Thy paleness moves me more than eloquence;
And here choose I: joy be the consequence!
(The page takes the key from Portia as before,
and hands it to Bassanio.}
For.1 O love,
Be moderate; allay thy ecstasy;
In measure rein thy joy; scant this excess.
I feel too much thy blessing: make it less,
For fear I surfeit.
Bass.2 What find I here? (Opening the
leaden casket?)
Fair Portia's counterfeit! What demi-god
Hath come so near creation? Here's the scroll,
The continent and summary of my fortune.
f Reads.] You that choose not by the view,
Chance as fair and choose as true'
Since this fortune falls to you,
Be content and seek no new.
If you be well pleased with this
And hold your fortune for your bliss,
Turn you where your lady is
And claim her with a loving kiss.
(As Bassanio goes to Portia at R C, Gratiano
begins appealing quietly to Nerissa up R.)
105
lShe begins to kneel: Bassanio stops her.
Portia takes her ring, Nerissa takes hers.
106
THE MERCHANT OF VENICE
A gentle scroll. Fair lady, by your leave;
I come by note, to give and to receive.
As doubtful whether what I see be true,
Until confirmed, signed, ratified by you.
For. (R C). You see me, Lord Bassanio,
where I stand,
Such as I am: though for myself alone
I would not be ambitious in my wish,
To wish myself much better; yet, for you
I would be trebled twenty times myself;
A thousand times more fair, ten thousand
times
More rich: But the full sum of me
Is sum of nothing; which, to term in gross
Is an unlessoned girl, unschooled, unpractised;
Happy in this, she is not yet so old
But she may learn; happier than this,
She is not bred so dull but she can learn;
Happiest of all is that her gentle spirit
Commits itself to yours to be directed,
As from her lord, her governor, her king.1
(Slight pause.)
Myself and what is mine to you and yours
Is now converted:2 I give them with this
ring;
107
lNerissa leads down Gratiano R C.
Gratiano R C, Nerissa R C, Portia C, Bassanio
C to L.
Making this very ardent.
108
THE MERCHANT OF VENICE
Which when you part from, lose, or give away,
Let it presage the ruin of your love
And be my vantage to exclaim on you.
Bass. (C). Madam, you have bereft me of
all words,
Only my blood speaks to you in my veins
But when this ring
Parts from this finger, then parts life from hence :
O, then be bold to say Bassanio's dead!
(Bassanio here kisses Portia on the brow.}
Ner. (R C).1 My Lord and lady, it is now
our time,
That have stood by and seen our wishes prosper,
To cry, good joy: good joy, my lord and lady!
Gra. (R C). My Lord Bassanio and my
gentle lady,
I wish you all the joy that you can wish;
For I am sure you can wish none from me :
And when your honours mean to solemnize
The bargain of your faith, I do beseech you,
Even at that time I may be married too.
Bass. (L C). With all my heart, so thou
canst get a wife.
Gra. I thank your lordship, you have got
me one.
109
*"/ loved for intermission," is the correct
reading according to Shakespeare's own prompt
book (the Folio of 1623). // loses its humour
if punctuated the other way "I loved" it means
he loved for intermission in the meantime — dur-
ing the interval. I hope you see it that way — so
few professional actors do. The following sentence
is a little awkward to read but it is compensated
for by the rich humour of the joke: to save the
awkwardness I have cut out the line following.
^Portia holds out her hand to Nerissa, who
crosses quickly- to her. Portia embraces her and
they go up R; Bassanio Xs to Gratiano, takes
his hand cordially, they go R.
zSalerio is another character if desired, but the
lines are generally given to Salanio.
^Bassanio Xs to welcome Lorenzo and his
party at L C. Portia Xs to C and curtseys to
them; they all bow.
no
THE MERCHANT OF VENICE
My eyes, my lord, can look as swift as yours:
You saw the mistress, I beheld the maid;
You loved,1 1 loved for intermission.
(They all laugh.)
Your fortune stood upon the caskets there
So did mine too — as the matter falls
I got a promise of this fair one here
To have her love, provided that your fortune
Achieved her mistress.
For. (C). Is this true, Nerissa?
Ner. (R C). Madam, it is, so you stand pleased
withal2
Bass. (C). And do you, Gratiano, mean good
faith?
Gra. (C to R.) Yes, faith, my lord.
Bass. Our feast shall be much honoured in
your marriage.
Gra. But who comes here?3 Lorenzo and
his infidel?
What, and my old Venetian friend Salanio?
Enter LORENZO, JESSICA, and SALERIO, (or
SALANIO) , a messenger from Venice from L.
Bass.* (Crosses to L C.) Lorenzo and Salerio,
welcome hither; (or Salanio)
If that the youth of my new interest here
lBassanio goes across to seat R C.
^Portia watches him up R C.
Portia,
R.c
Basstmlo Grattano Nerwaa -Salanio
G L/.a
112
THE MERCHANT OF VENICE
Have power to bid you welcome. By your
leave,
I bid my very friends and countrymen,
Sweet Portia, welcome.
For. (Xs to them.) So do I, my lord:
They are entirely welcome.
Lor. (L C). I thank your honour. For my
part, my lord,
My purpose was not to have seen you here;
But meeting with Salanio by the way,
He did intreat me, past all saying nay,
To come with him along.
Salanio (Xs to L C). I did, my lord;
And I have reason for it. Signior Antonio
Commends him to you.
[Gives Bassanio a letter and crosses to Gratiano
up R.
Bass. (C). Ere I ope his letter
I pray you, tell me how my good friend doth.
Saler. Not sick, my lord, unless it be in
mind;
Nor well, unless in mind: his letter there
Will show you his estate.1 [Goes to chair R C.2
Gra. (R). Nerissa, cheer yon stranger; bid
her welcome.
"3
lNerissa and Gratiano go from up R to up L,
to talk to Jessica.
N.B. Lorenzo and Jessica must not be too sure
of their welcome at Portia's house: even in those
days she would not countenance a Jewish
elopement, any more than any undutifulness to
a parent. Jessica is not intended by Shakes-
peare to be a martyr, any more than Shylock is — •
she is a thief: selfish and disobedient; though, not
quite so seriously so, as Goner il and Regan. As a
rule on the stage, Lorenzo and Jessica make them-
selves at home in a stranger's house, like a good
many young folks of to-day are apt to do!
2Bassanio is overcome by the sudden news from
Antonio, and sinks on the seat.
114
THE MERCHANT OF VENICE
Your hand, Salanio what's the news from Venice?
How doth that royal merchant good Antonio?1
For. There are some shrewd contents in yon
same paper,
That steals the colour from Bassanio's cheek2:
With leave, Bassanio; I am half yourself,
And I must freely have the half of anything
That this same paper brings you.
Bass. (Seated R C). O sweet Portia,
Here are a few of the unpleasant'st words
Than ever blotted paper! (Rises) Gentle lady,
(XstoC. Portia is LC.)
When I did first impart my love to you,
I freely told you, all the wealth I had
Ran in my veins; When I told you
My state was nothing, I should then have told
you
lhat I was worse than nothing; for, indeed,
I have engaged myself to a dear friend,
Engaged my friend to his mere enemy,
To feed my means. Here is a letter, lady;
The paper as the body of my friend,
And every word in it a gaping wound,
Issuing life-blood. (Xs to R C.) But is it true,
Salerio? (Salerio has gone R.)
"5
N. B. The description of Shylock' s thirst for
what he considered his rights in this case should
not be misunderstood. In those days, the Jewish
merchants were considered too anxious to be
at the head of the commercial world, and Shylock
here is, undoubtedly, anxious to take the place
Antonio holds; — it was merely a race for wealth.
The Jewish people of to-day should bear no more
resentment to Shakespeare for drawing Shylock
than the Scotch people should for the portrait
of the cruel Macbeths; they were wholesale mur-
derers; not even sparing women and children.
116
THE MERCHANT OF VENICfi
Have all his ventures failed"* What, not one
hit?
From Tripolis, from Mexico, and England,
From Lisbon, Barbary and India?
And not one vessel 'scape the dreadful touch
Of merchant-marring rocks?
(All attend here. Don't let Lorenzo and Jessica,
or any other of the young things, be talking about
their friends, or their fashions, during the scene.}
Saler. (R C). Not one, my lord.
Besides, it should appear, that if he had
The present money to discharge the Jew,
He would not take it. Never did I know
A creature, that did bear the shape of man,
So keen and greedy to confound a man:
He plies the Duke at morning and at night,
And doth impeach the freedom of the state,
If they deny him justice. Twenty merchants,
The Duke himself and the magnificoes
Of greatest port, have all persuaded with him;
But none can drive him from the envious plea
Of forfeiture, of justice and his bond.
For. (L C). Is it your dear friend that is
thus in trouble?
117
lShe whispers this to him.
118
THE MERCHANT OF VENICE
Bass. (C). The dearest friend to me, the
kindest man,
The best conditioned and unwearied spirit
In doing courtesies, and one in whom
The ancient Roman honour more appears
Than any that draws breath in Italy.
For. What sum owes he the Jew?
Bass. For me three thousand ducats.
For. (C). What, no more? (Xs to C.)
(General movement.)
Pay him six thousand, and deface the bond;
Double six thousand, and then treble that,
Before a friend of this description
Shall lose a hair through Bassanio's fault.
First,1 go with me to church and call me wife,
And then away to Venice to your friend;
Bid your friends welcome, show a merry cheer:
Since you are dear bought, I will love you dear.
But let me hear the letter of your friend.
Bass. (C). [Reads.] Sweet Bassanio, my ships
have all miscarried, my creditors grow cruel, my
estate is very low, my bond to the Jew is forfeit; and
since in paying it, it is impossible I should live, all
debts are cleared between you and I, if I might but
see you at my death. Notwithstanding, use your
119
The end of the act is full of animation, the
characters all being interested.
Portia and Bassanio go up to L C followed
by the rest of their friends; last of all Gratiano
and Nerissa, they pause and kiss as the curtain
falls. Lorenzo and Jessica can do the same, mak-
ing the end of the scene humorous.
Special Note. The next two scenes can be
omitted — they are very fine — but not actually
necessary to the plot.
Salanio has explained Shylock's attitude; and
the letter from Doctor Bellario explains the situa-
tion to the audience, of the young Doctor from
Rome. (As this is arranged for acting, all omissions
and restorations, are left to your own judgment.}
120
THE MERCHANT OF VENICE
pleasure: if your love do not persuade you to come,
let not my letter.
(Play up with spirit to the end.)
For. (C to L). O love, dispatch all business,
and be gone!
Bass (C). Since I have your good leave to
go away,
I will make haste: but till I come again
No bed shall ere be guilty of my stay,
No rest be interposer twixt us twaine.
Curtain
SCENE VI. Venice. A street.
Enter SKYLOCK(I), SALARINO^), ANTONIO (4),
and Gaoler (3), from R.
Shy. (R Xs to L C). Gaoler, look to him:
tell not me of mercy;
This is the fool that lent out money gratis:
Gaoler, look to him.
Ant. (R C). Hear me yet, good Shylock.
Shy. (R C). I'll have my bond; speak not
against my bond:
I have sworn an oath that I will have my
bond.
121
lGaoler crosses to R.
122
THE MERCHANT OF VENICE
Thou calledst me dog before thou hadst a
cause;
But, since I am a dog, beware my fangs:
The Duke shall grant me justice. I do wonder,
Thou naughty gaoler, that thou art so fond
To come abroad with him at his request.
Ant. I pray thee, hear me speak.
Shy. I'll have my bond; I will not hear
thee speak:
I'll have my bond; and therefore speak no
more.
[Exit L threateningly.1
Ant. (L C., Xs after Shylock). I'll follow
him no more with bootless prayers.
He seeks my life; his reason well I know:
I oft delivered from his forfeitures
Many that have at times made moan to me;
Therefore he hates me.
Salar. I am sure the Duke
Will never grant this forfeiture to hold.
Ant. The Duke cannot deny the course of
law:
Well, gaoler, on. Pray God, Bassanio come
To see me pay his debt, and then I care not!
[Exeunt R.
123
1 Portia is seated at a table C, writing. Lorenzo
stands near her at L C. Nerissa and Jessica are
up R. (If Elizabethan, they enter.)
^Lorenzo kisses Portia's hand at L C.
* Jessica comes down and kisses Portia* s hand
at R C — then Lorenzo crosses to Jessica R C,
and they go o/ R2.
124
THE MERCHANT OF VENICE
SCENE VII. Belmont. A room in PORTIA'S
house.
Enter PORTIA, LORENZO, JESSICA, and
BALTHASAR, Z,.1
For. Lorenzo, I commit into your hands
The husbandry and manage of my house
Until my lord's return; for mine own part,
I have toward heaven breathed a secret vow
To live in prayer and contemplation,
Only attended by Nerissa here,
Until her husband and my lord's return:
There is a monastery two miles off
And there will we abide. I do desire you
Not to deny this imposition,
The which my love and some necessity
Now lays upon you.
Lor. (L C).2 Madam, with all my heart;
I shall obey you in all fair commands.
For. My people do already know my mind,
And will acknowledge you and Jessica
In place of Lord Bassanio and myself.3
And so farewell, till we shall meet again.
(Going up L).
125
1 Pause to get them off; then Portia calls Bdthasar,
who comes forward from L.
2Gives him letter, and delivers speech with great
animation.
zTranect is a machine which plied as the ferry.
^Balthasar is a youth full of enthusiasm.
* Portia rises, and the rest of the scene is delicious
comedy.
126
THE MERCHANT OF VENICE
Lor. Fair thoughts and happy hours attend
on you!
Jes. I wish your ladyship all heart's content.
For. I thank you for your wish, and am well
pleased
To wish it back on you: fare you well, Jessica.1
[Exeunt Jessica and Lorenzo up R2.]
Now, Balthasar (he comes quickly from L),
As I have ever found thee honest-true,
So let me find thee still. Take this same letter,2
And use thou all the endeavour of a man
In speed to Padua: see thou render this
Into my cousin's hand, Doctor Bellario;
And, look, what notes and garments he doth
give thee,
Bring them, I pray thee, with imagined speed
Unto the tranect,3 to the common ferry
Which trades to Venice. Waste no time in words,
But get thee gone: I shall be there before thee.4
Balth. Madam, I go with all convenient
speed.4 [Exit running of L.
For. (LC).5 Come on, Nerissa; I have work
in hand
That you yet know not of: we'll see our hus-
bands
127
lShe walks about like Rosalind.
2She goes toward L C, Nerissa follows.
Though there are many arrangements — this
is, I believe, the best way to set the scene. The same
platform is used all through the ist act for Venice,
yd act for the caskets, 4th for the Duke and the
judges: there can be from 2 to 12 judges. The
position of the tables is natural, and gives breadth
and scope for all to be well seen by audience. It
is, moreover, the traditional position of the furniture
in a court of law. Tables have papers. On L
table the bags of ducats. If the stage is. Elizabeth-
an, the Duke enters, followed by his judges.
If a scenic stage — all are discovered.
Flourish of trumpets at beginning — till Duke
is seated.
THE MERCHANT OF VENICE
Before they think of us.
Ner. (R. C). Shall they see us?
For.1 They shall, Nerissa;
I'll hold thee any wager,
When we are both accoutred like young men,
I'll prove the prettier fellow of the two,
And wear my dagger with the braver grace,
And speak between the change of man and boy
With a reed voice, and turn two mincing steps
Into a manly stride, and speak of frays
Like a fine bragging youth, and tell quaint lies,
How honourable ladies sought my love.
But come,2 I'll tell thee all my whole device
When I am in my coach, which stays for us
(Goes up to entrance up L. Nerissa stops till
Portia puts out her hand to go of.}
At the park gate; and therefore haste away,
For we must measure twenty miles to-day.
[Exeunt
Curtain
END OF ACT III
129
ACT IV
SCENE I. Venice. A court of justice.
Enter the DUKE, the Magnificoes, ANTONIO,
BASSANIO, GRATIANO, SALERIO, and others all
together up R.
Duke. (C). What, is Antonio here?
Ant. (R). Ready, so please your grace.
Duke (C) . I am sorry for thee : thou art come
to answer
A stony adversary, an inhuman wretch
Uncapable of pity, void and empty
From any dram of mercy.
Ant. (R C). I have heard.
Your grace hath ta'en great pains to qualify
His rigorous course; but since he stands ob-
durate
And that no lawful means can carry me
Out of his elBy*S reach, I do oppose
My patience to his fury, and am armed
1 Antonio and Bassanio cross over to L C. There
is a general movement as Shylock and Tubal
come down the middle of the court from R$. A
murmur.
2Deep silence.
N. B. All who address the Duke must turn to
him; half addressing him, and the audience.
132
THE MERCHANT OF VENICE
To suffer, with a quietness of spirit,
The very tyranny and rage of his.
Duke. Go one, and call the Jew into the
court.
Saler (up R). He is ready at the door: he
comes, my lord.
Enter SHYLOCK (R or up R with Tubal).
Duke. (C). Make room, and let him stand
before our face.1
(Shylock salutes the Duke and stands R C.)
Shylock, the world thinks, and I think so, too,
That thou but lead'st this fashion of thy malice
To the last hour of act; and then 't is thought
Thou 'It show thy mercy and remorse more
strange
Than is thy strange apparent cruelty;
And where thou now exact 's the penalty,
Which is a pound of this poor merchant's flesh,
Thou wilt not only loose the forfeiture,
But, touched with human gentleness and love,
Forgive a moiety of the principal;
Glancing an eye of pity on his losses,
That have of late so huddled on his back,
Enow to press a royal merchant down.
We all expect a gentle answer, Jew.2
133
lBassanio crosses to edge of table L C.
134
THE MERCHANT OF VENICE
Shy (R C). I have possessed your grace of
what I purpose;
And by our holy Sabbath have I sworn
To have the due and forfeit of my bond:
If you deny it, let the danger light
Upon your charter and your city's freedom.
You'll ask me, why I rather choose to have
A weight of carrion flesh than to receive
Three thousand ducats. I'll not answer that;
But, say, it is my humour: is it answered?
Some men there are love not a gaping pig:
Some that are mad if they behold a cat.
Now for your answer, as there is no firm
reason to be rendered: —
Why he cannot abide a gaping pig?
Why be a harmless necessary cat?
So can I give no reason, nor I will not,
More than a lodg'd hate, and a certain loathing
I bear Antonio, that I follow thus
A loosing suit against him. Are you answered?
Bass.1 (L C). This is no answer, thou unfeel-
ing man,
To excuse the current of thy cruelty.
Shy. (R C). I am not bound to please thee
with my answers.
135
lShylock almost hisses these Words at him,
watches the effect, then goes to Tubal at R.
Bassanio turns to Antonio, who is at his L.
^Antonio pauses a moment, then goes L C.
zCrosses here down to L C, appealing directly
to the Duke.
^Bassanio takes the bags offLC table and goes
to C, offering them to Shy lock.
^Shylock goes forward, draws knife and touches
the bags with it.
^Crosses back to Tubal R.
136
THE MERCHANT OF VENICE
Bass. (L C). Do all men kill the things they
do not love?
Shy. (R C). Hates any man the thing he
would not kill?
Bass. (L C). Every offense is not a hate at
first.
Shy. (R C).1 What, wouldst thou have a
serpent sting thee twice?
Ant.2 I pray you, think you question with
the Jew:
You may as well go stand upon the beach
And bid the main flood bate his usual height;
You may as well do any thing most hard,
As seek to soften that — than which what's
harder? —
His Jewish heart:3 therefore, I do beseech you,
Make no more offers, use no farther means,
But with all brief and plain conveniency
Let me have judgment and the Jew his will.
Bass.* For thy three thousand ducats here
is six.
Shy.5 If every ducat in six thousand ducats
Were in six parts and every part a ducat,
I would not draw them; I would have my
bond.6
lBassanio puts bags on table L C and goes
back to Antonio L.
2 Shy lock's speech can, of course, be retained
in its entirety.
3 The law is contained in a book on the table
at R C (where Portia will sit}.
4Shylock pauses and waits for answer.
bSalerino is up R, he bows, goes near Duke,
and then off up R.
138
THE MERCHANT OF VENICE
Duke. (C). How shalt thou hope for mercy,
rendering none?1
Shy. (R C).2 What judgment shall I dread,
doing no wrong?
The pound of flesh, which I demand of him,
Is dearly bought; 't is mine and I will have it.
If you deny me,3 fie upon your law!
There is no force in the decrees of Venice.
I stand for judgment:4 answer; shall I have it?
Duke. (C). Upon my power I may dismiss
this court,
Unless Bellario, a learned doctor,
Whom I have sent for to determine this,
Come here to-day.
Salar* My lord, here stays without.
A messenger with letters from the doctor,
New come from Padua.
Duke. Bring us the letters ; call the messenger.
Bass. (L C). Good cheer, Antonio! (L)
What, man, courage yet!
The Jew shall have my flesh, blood, bones and
all,
Ere thou shalt lose for me one drop of blood.
Ant. I am a tainted wether of the flock,
Meetest for death: the weakest kind of fruit
139
1Salarino returns ushering in Nerissa, who
goes quickly down the stage R, then up to middle
of tables — bows.
2Gives letter to Clerk: Clerk bows and hands
it to the Duke.
*At Nerissa 's entrance, whilst the business with
Duke is going on, Shylock kneels as if hidden by
Tubal R; sharpens his knife on sole of shoe.
Bassanio crosses to him from L C.
N. B. The business should not be seen by
the Duke. It seems impossible that it would be
tolerated.
140
THE MERCHANT OF VENICE
Drops earliest to the ground; and so let me:
Enter NERISSA, dressed like a lawyer's clerk —
but, please, not with a "college" cap; a little tight-
fitting cap, like a Flemish picture.
Duke, (up C)-1 Came you from Padua, from
Bellario?
Ner. (C). From both, my lord. Bellario
greets your grace.
(Presenting a letter with back to audience)?
Bass. Why dost thou whet thy knife so
earnestly?3
Shy. (RC). To cut the forfeiture from that
bankrupt there.
Gra. (R). Not on thy sole, but on thy soul,
harsh Jew,
Thou mak'st thy knife keen; but no metal can,
No, not the hangman's axe, bear half the keen-
ness
Of thy sharp envy. Can no prayers pierce
thee?
Shy. No, none that thou hast wit enough
to make.
Duke. (C). This letter from Bellario doth
commend
141
lNerissa has remained standing whilst Duke
reads.
2The words" three" or "four" can be omitted
unless there is a crowd. Salarino and several
others go off. Nerissa sits on stool R of R C
table.
3Clerk rises, takes letter, bows lo Duke and reads.
142
THE MERCHANT OF VENICE
A young and learned doctor to our court.
Where is he?
Ner. (C).1 He attendeth here hard by,
To know your answer, whether you'll admit him.
Duke.2 With all my heart. Some three or
four of you
Go give him courteous conduct to this place.
Meantime the court shall hear Bellario's
letter.3
Clerk. [Reads.] Your grace shall understand
that at the receipt of your letter I am very sick:
but in the instant that your messenger came, in
loving visitation was with me a young doctor of
Rome; his name is Balthasar. I acquainted him
with the cause in controversy between the Jew
and Antonio, the merchant: we turned o'er many
books together: he is furnished with my opinion;
which, bettered with his own learning, the greatness
whereof I cannot enough commend, comes with him,
at my importunity, to fill up your grace's request
in my stead. I beseech you, let his lack of years
be no impediment to let him lack a reverend es-
timation; for I never knew so young a body with
so old a head. I leave him to your gracious ac-
ceptance, whose trial shall better publish his
commendation.
143
1AU rise except the Duke when Doctor enters.
He goes to Duke up R C, then on to steps.
Note: Let Portia be dressed in a black cassock
with many small red buttons, with a red loose gown
and red cap:like a Rembrandt picture. Both Portia
and Nerissa should be so well disguised that none of
the men have any coznizancp of them. Please ask
the young men or ladies 'to be careful of their
"make-ups": the present fashion of deep-redding
and distorting the shape^of the lips, and graying
the eyelids by regular actors and actresses is hideous
and deplorable and must not be copied by our
young friends who use these books. If some of our
really lovely actresses would realize how plain they
make themselves look on the stage, the practice
would undoubtedly be discontinued.
^Doctor is shown to seat, down R of R C table;
arranges books, papers, etc., then sits.
3 Antonio moves down L C. Shy lock moves
down R C.
144
THE MERCHANT OF VENICE
Duke. You hear the learned Bellario, what
he writes:
And here, I take it, is the doctor come.1
Enter PORTIA, dressed like a Doctor of Laws
(in red}.
Give me your hand. Come you from old Bel-
lario?
For. I did, my lord.
Duke You are welcome: take your place.2
Are you acquainted with the difference
That holds this present question in the court?
For. (sits R C). I am informed thoroughly
of the cause.
Which is the merchant here, and which the Jew?
Duke. Antonio and old Shylock, both stand
forth.3
For. Is your name Shylock?
Shy. Shylock is my name.
For. Of a strange nature is the suit you
follow;
Yet in such rule that the Venetian law
Cannot impugn you as you do proceed.
You stand within his danger, do you not? •
Ant. Ay, so he says.
145
lPortia can deliver the speech several ways.
I strongly recommend the first five lines seated,
rising at "the mightiest " — very little gesture to be
used, perhaps only twice; at the words "it is an
attribute to God himself" the right hand and finger
to be raised; and at, "we do pray for mercy";
the action of appeal used to Shylock. (Don't
elocute, be natural!)
N. B. It is stronger for Portia to rely upon
the words: lots of gesture and action is used later
on in the scene: at the words, "I have spoke thus
much," a movement away toward table, and at
"'gainst the merchant there," a strong action,
on "there" pointing to Antonio.
146
THE MERCHANT OF VENICE
For. Do you confess the bond?
Ant. (LC). I do.
For. (R C). Then must the Jew be merciful.
Shy. (R C). On what compulsion must I?
Tell me that.
For. The quality of mercy is not strained;
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blest;
It blesseth him that gives and him that takes:
'T is mightiest in the mightiest;1 it (rises)
becomes
The throned monarch better than his crown:
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice^ Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: we do pray for mercy;
And that same prayer doth teach us all to
render
147
1Shylock becomes elated from this point.
2 Portia sits again R of RC table.
*Bassanio comes forward with great earnestness.
4 Kneels infrontj at L C.
N. B. Portia and Nerissa should be disguised
beyond all recognition. If Portia is fair, she should
now be dark, with a "clubbed" wig, and a cap to
cover well over the head; the same applies to Nerissa;
unless these disguises are complete, the scene loses
its power. Neither of them wish the husband to
discover the stratagem.
148
THE MERCHANT OF VENICE
The deeds of mercy. I have spoke thus much
To mitigate the justice of thy plea;
Which if thou follow, this strict court of Venice
Must needs give sentence 'gainst the merchant
there.
Shy.1 My deeds upon my head! I crave
the law,
The penalty and forfeit of my bond.
For.2 Is he not able to discharge the money?
Bass.3 Yes, here I tender it for him in the
court;
Yea, twice the sum: if that will not suffice,
I will be bound to pay it ten times o'er,
On forfeit of my hands, my head, my heart:
If this will not suffice, it must appear
That malice bears down truth.4 And I beseech
you,
Wrest once the law to your authority:
To do a great right, do a little wrong,
And curb this cruel devil of his will.
For. It must not be; there is no power in
Venice
Can alter a decree established:
'T will be recorded for a precedent,
And many an error by the same example
149
lGives bond which has been tucked in the girdle.
Tubal carries the scales.
2 'Portia quickly looks over the bond.
zSaid with seriousness.
150
THE MERCHANT OF VENICE
Will rush into the state: it cannot be.
Shy. (R C). A Daniel come to judgment!
yea, a Daniel!
O wise young judge, how I do honour thee !
For. I pray you, let me look upon the bond.
Shy.1 Here 't is, most reverend doctor, here
it is.
For.2 Why, this bond is forfeit;
And lawfully by this the Jew may claim
A pound of flesh, to be by him cut off
Nearest the merchant's heart. Be merciful:
Take thrice thy money; bid me tear the bond.
Shy. (R C). When it is paid according to
the tenour.
It doth appear you are a worthy judge;
You know the law, your exposition
Hath been most sound: I charge you by the law,
Whereof you are a well-deserving pillar,
Proceed to judgment; )by my soul I swear
There is no power in the tongue of man
To alter me:3 I stay here on my bond.
Ant. Most heartily I do beseech the court
To give the judgment.
For. (rising). Why then, thus it is:
You must prepare your bosom for his knife.
151
1 Draws knife from sheath.
^Bowing.
^Pointing to bond with knife.
^Indicates that Tubal carries them.
bShylock looks at Doctor — then at the bond.
* After hunting for it: knowing it is not there.
1 Portia sits, after speaking to Antonio. An-
tonio is L C, Bassanio L, by him; Shylock goes up
R, consulting with Tubal.
152
THE MERCHANT OF VENICE
Shy.1 O noble judge! O excellent young
man!
For. For the intent and purpose of the law
Hath full relation to the penalty,
Which here appeareth due upon the bond.
Shy. 'T is very true: 0 wise and upright
judge!
How much more elder art thou than thy
looks!2
For. Therefore lay bare your bosom.
Shy. Ay, his breast:
So says the bond:3 doth it not, noble judge?
" Nearest his heart " : those are the very words.
For. It is so. Are there balance here to
weigh the flesh?
Shy.4' I have them ready.
For. Have by some surgeon, Shylock, on
your charge,
To stop his wounds, lest he do bleed to death.
Shy. Is it so nominated in the bond?5
For. It is not so expressed: but what of that?
'T were good you do so much for charity.
Shy. I cannot find it;6 't is not in the bond.
For. You, merchant,7 have you anything
to say?
lPlease keep this reading; it is Shakespeare's.
^Portia is seated at table examining books,
deeds, etc.; at these words she makes a slight
movement; speaks under her breath to Nerissa.
N. B. These lines are a relief to the tension
of the scene.
All the speech can be spoken. Always remember,
please, that long speeches had better be abridged than
spoken in a monotone. A long speech never seems
long, if it is rendered with animation and vivacity.
This particular speech hardly ever holds the atten-
tion, the figures of Portia and Shylock dominat-
ing. I advise cutting six middle lines.
zGratiano speaks thus, as he does all his
speeches in this scene, to his friends at R.
154
THE MERCHANT OF VENICE
Ant. But little: I am armed and well pre-
pared.
Give me your hand, Bassanio: fare you well!
Grieve not that I am fallen to this for you;
For herein Fortune shows herself more kind
Than is her custom. (It is still her use
To let the wretched man outlive his wealth,
To view with hollow eye and wrinkled brow
An age of poverty; from which lingering penance
Of such a misery doth she cut me off.)
Repent but you that you shall lose your friend,
And he repents not that he pays your debt;
For if the Jew do cut but deep enough,
I'll pay it instantly with all my heart.
Bass. Antonio, I am married to a wife
Which is as dear to me as life itself;
But life itself, my wife, and all the world,
Are not with me esteemed above thy life:
I would lose all; I sacrifice them all;1
Here to this devil, to deliver you.
For.2 Your wife would give you little thanks
for that,
If she were by, to hear you make the offer.
Gra. (-K).3 I have a wife, whom, I protest,
I love:
lNerissa speaks same manner as Portia.
2Shylock speaks with more motive than the
others; he speaks to Tubal up R, and takes the
scales.
3 At this point, go down. Portia arises, every
one attentive. Portia stands almost at end of
table R C, almost C.
4 At these words Shylock makes a rush like a
wild animal; flourishing knife in right hand;
scales hanging in L.
^Portia very quietly and deliberately
^Indicating bond.
7 At the words "jot of blood'' every one looks up.
There has been a tremendous tension, a holding of
breath, till this point.
156
THE MERCHANT OF VENICE
I would she were in heaven, so she could
Entreat some power to change this currish Jew.
Ner.1 JT is well you offer it behind her back ;
The wish would make else an unquiet house.
Shy. (up R).2 These be the Christian hus-
bands. I have a daughter;
Would any of the stock of Barabbas
Had been her husband rather than a Christian!
We trifle time:3 I pray thee, pursue sentence.
For. (C). A pound of that same merchant's
flesh is thine:
The court awards it, and the law doth give it.
Shy. (R C) . Most rightful judge !
For. And you must cut this flesh from off
his breast:
The law allows it, and the court awards it.
Shy . (R C) . Most learned judge ! A sentence !
Come, prepare!4
For. Tarry a little;5 there is something else.
(Pause.) This bond,6 doth give thee here no jot
of blood;7
The words expressly are "a pound of flesh":
Take then thy bond, take thou thy pound of
flesh,
But, in the cutting it, if thou dost shed
157
lAt these words the Doctor sweeps up between
the tables, directly appealing to Duke; Shylock
dashes scales on ground.
^Gratiano speaks to his friends; not to the
court. Be careful of this.
z Shylock sits at once, trying to find the judgment
in the law books.
4Nerissa puts book for Shylock to read.
158
THE MERCHANT OF VENICE
One drop of Christian blood, thy lands and goods
Are, by the laws of Venice, confiscate
Unto the state of Venice.1
Gra. (R). O upright judge!2 Mark, Jew:
O learned judge!
Shy? Is that the law?
For. Thyself shall see the act:4
For, as thou urgest justice, be assured
Thou shalt have justice, more than thou de-
sirest.
Gra. (R). O learned judge! Mark, Jew: a
learned judge !
Shy. (rises R C). I take this offer, then; pay
the bond thrice
And let the Christian go.
Bass. (Xs with bags). Here is the money.
For. (C). Soft! (Stands between.)
The Jew shall have all justice; soft! no haste:
He shall have nothing but the penalty.
Gra. (R). 0 Jew! an upright judge, a learned
judge!
For. (C). Therefore prepare thee to cut off
the flesh.
Shed thou no blood, nor cut thou less nor more
But just a pound of flesh: if thou cut'st more
159
lDrops knife.
N. B. Please be sure that Gratiano does not
address his speeches to the court, but to his friends
at R. It is far more effective to make his re-
marks quietly, with pointed humour.
^Shylock is here beside himself with anger and
indignation.
zWith a sweep of the hand the Doctor hands him
back the bond.
160
THE MERCHANT OF VENICE
Or less than a just pound, be it but so much
As makes it light or heavy in the substance,
Or the division of the twentieth part
Of one poor scruple, nay, if the scale do turn
But in the estimation of a hair,
Thou diest:1 and all thy goods are confiscate.
[The scene rises here to its climax.
Gra. (R). A second Daniel, a Daniel, Jew!
Now, infidel, I have thee on the hip.
For. (C). Why doth the Jew pause? take
thy forfeiture.
Shy. (R C), Give me my principal, and let
me go.
Bass. (LC). I have it ready for thee; here it
is.
For. (C). He hath refused it in the open
court:
He shall have merely justice and his bond.
Gra. (R). A Daniel, still say I, a second
Daniel!
I thank thee, Jew, for teaching me that word.
Shy? Shall I not have barely my principal?
For. Thou shalt have nothing but the for-
feiture,
To be taken so at thy peril, Jew.3
161
lShylock takes it and scrunches it up, and
stamps upon it; is going up R with Tubal, when
the Doctor's words stop them.
*Nerissa hands the book to Portia.
*This whole speech absolutely pulverizes Shylock
and he crawls to the middle of the table.
^Kneels down C, appealing to Duke.
Note: No one wants to hear any more of Grat-
iano.
162
THE MERCHANT OF VENICE
Shy. Why, then the Devil give him good
of it I1
I'll stay no longer question.
For. (Coming round to seat.} Tarry, Jew:
The law hath yet another hold on you.
It is enacted in the laws of Venice 2
If it be proved against an alien
That by direct or indirect attempts
He seek the life of any citizen
The party 'gainst the which he doth contrive
Shall seize one half his goods; the other half
Comes to the privy coffer of the state;
And the offender's life lies in the mercy
Of the Duke only, 'gainst all other voice.
In which predicament, I say, thou stand'st:
For it appears, by manifest proceeding,
That indirectly, and directly too,
Thou hast contrived against the very life
Of the defendant; and thou hast incurred
The danger formerly by me rehearsed
Down therefore;3 and beg mercy of the Duke.4
Duke. That thou shalt see the difference
of our spirits,
I pardon thee thy life before thou ask it:
For half thy wealth, it is Antonio's;
163
lPortia is seated R C.
SLylock crawls over to Portia, appealing for
leniency.
*Shylock listens, and at the end, when asked
to become a Christian, he rises almost dumb with
horror, making strong appeal to Antonio.
4This is the climax of Shylock's misfortunes.
He acts and moves now like a crushed being.
164
THE MERCHANT OF VENICE
The other half comes to the general state,
Which humbleness may drive unto a fine.
For. Ay, for the state,1 not for Antonio.
Shy. Nay, take my life and all;2 pardon not
that:
You take my house when you do take the
prop
That doth sustain my house; you take my life
When you do take the means whereby I live.
For. What mercy can you render him,
Antonio?3
Ant. So please my lord the Duke, and all
the court,
To quit the fine for one half of his goods,
I am content; so he will let me have
The other half in use, to render it,
Upon his death, unto the gentleman
That lately stole his daughter:
Two things provided more, that, for this fav-
our,
He presently become a Christian;
The other, that he do record a gift,
Here in the court, of all he dies possessed,
Unto his son Lorenzo, and his daughter.4
Duke. He shall do this, or else I do recant
165
lHe is now quite overcome.
2Clerk busily writes; but do not scratch.
zAt the end of the speech he drops into TubaVs
arms, who leads him up R.
*In passing, Gratiano puts his hand on Shy-
lock's arm, and hisses those words in his ear.
Shylock looks scornfully at him, brushes his
hand of and totters out of court with Tubal. There
are many ways of Shylock exits. I have seen a
modern actor take about five minutes to get off.
This is a big mistake artistically , for it is impossi-
ble that it could have happened.
At exit of Shylock a general movement of joy —
Duke comes+down R C; meets Doctor.
bDuke crosses to Antonio, takes his hand, then
gives right hand to Doctor, who conducts him up R.
Trumpets at Duke's exit, followed by all the
judges who have sat by Duke; they rise when he
rises, consulting each other during trial, and go off
with Duke. With regard- to by-play: Do not ever
make it obtrusive, or cause a divided interest upon
the stage. If you are to talk — talk in pantomime; .
and always moderately.
After Duke's exit there is a general break up
of the tension — Gratiano from R, Bassanio and
Antonio from L, surround Doctor and Clerk; both
come down C.
166
THE MERCHANT OF VENICE
The pardon that I late pronounced here.
For. Art thou contented, Jew? what dost
thou say?
Shy.1 I am content.
Por? Clerk, draw a deed of gift.
Shy? I pray you, give me leave to go from
hence;
I am not well: send the deed after me,
And I will sign it.
Duke. Get thee gone, but do it.
Gra* In christening shalt thou have two
godfathers:
Had I been judge, thou shouldst have had ten
more,
To bring thee to the gallows, not the font.
[Exit Shylock up R with Tubal.
Duke (C). Sir, I entreat you home with me
to dinner.
Por. I humbly do desire your grace of par-
don:
I must away this night toward Padua,
And it is meet I presently set forth.
Duke (C).5 I am sorry that your leisure
serves you not.
Antonio, gratify this gentleman;
167
lShe gives a knowing look at Bassanio.
2 They are Bassanio' s gloves she wants, also
Bassanio' s ring. There is absolutely no authority
for indicating that they are Antonio's gloves;
such a request would certainly spoil half, if not
all, the comedy, of the next scenes.
N. B. The first Folio gives no stage direction
that they are any one's but Bassanio' s; the accent
on the "love" and not on the uyour," indicates that
they are not Antonio's. It is unlikely that on such
occasion Antonio would have gloves, although it is
the custom of all men of means to wear them]
and they are necessary in these plays. Over-
coloured hands and lips are ugly, often entirely
marring expression.
168
THE MERCHANT OF VENICE
For, in my mind, you are much bound to him.
[Exeunt Duke and his train.
Bass. (L C). Most worthy gentleman, I and
my friend
Have by your wisdom been this day acquitted
Of grievous penalties; in lieu whereof,
Three thousand ducats, due unto the Jew,
We freely cope your courteous pains withal.
Ant. (L C). And stand indebted, over and
above,
In love and service to you evermore,
For. (C) . He is well paid that is well satisfied ;
And I, delivering you, am satisfied;
And therein do account myself well paia;
I pray you, know me when we meet again:
I wish you well, and so I take my leave.
Bass. (L C) . Dear sir, of force I must attempt
you further: (Bassanio puts on gloves?)
Take some remembrance of us, as a tribute,
Not as a fee: grant me two things, I pray you}
Not to deny me, and to pardon me.
For. (C).1 You press me far, and therefore I
will yield.
[To Bass.] Give me your gloves.2 (He takes
one off}. I'll wear them for your sake;
169
lln taking off gloves he shows the ring and
draws back his hand.
2Taken by surprise and apologetically.
zHe hands her the gloves.
4 Very casually even beginning to go.
^Portia looks around at him when he says
"wife" — credulously — she fears her husband is
a bit of a humbug. She is putting on the 'gloves
during this speech.
170
THE MERCHANT OF VENICE
And for your love, I'll take this ring from you: *
Do not draw back your hand; I'll take no more;
And you in love shall not deny me this.
Bass.2 This ring, good sir, alas, it is a
trifle! (Takes off other glove.}
I will not shame myself to give you this.
For. I will have nothing else but only this ;
And now methinks I have a mind to it.
Bass. (L C). There's more depends on this
than on the value.
The dearest ring in Venice will I give you,
And find it out by proclamation:
Only for this, I pray you, pardon me.3
For. (C).3 I see, sir, you are liberal in offers:4
You taught me first to beg; and now methinks
You teach me how a beggar should be answered.
Bass. (L C) . Good sir, this ring was given me
by my wife;5
And when she put it on, she made me vow
That I should neither sell nor give nor lose it.
For.(C). That 'scuse serves many men to
save their gifts.
And if your wife be not a mad- woman,
And know how well I have deserved the ring,
She would not hold out enemy for ever,
171
lAt the exit she waves her hand — her left
hand — to Bassanio up R. Nerissa does the same
business to Gratiano, following Portia up R.
2 At the end of the scene Antonio }s friends sur-
round him, and take him off to have a good time.
The Clerks are still writing when scene finishes.
If Elizabethan, they gather up the tables, stools,
papers, etc., and take them ojf with much anima-
tion. Be very careful to have all such details
thoroughly carried out.
On a scenic stage this is the end of the Fourth Act.
Curtain falls. There may be a little distant music.
172
THE MERCHANT OF VENICE
For giving it to me.1 Well, peace be with you!
[Exeunt Portia and Nerissa.
Ant. L C. My Lord Bassanio, let him have
the ring:
Let his deservings and my love withal
Be valued against your wife's commandment.
Bass. C. Go, Gratiano, run and overtake
him;
Give him the ring, and bring him, if thou canst,
Unto Antonio's house: away! make haste.
[Exit Gratiano of up R.
Come, you and I will thither presently;
And in the morning early will we both
Fly toward Belmont:2 come, Antonio.
[Exeunt.
END OF ACT IV
173
In setting the scenes the platform and steps can
be used all through the comedy — in all the full
scenes.
On scenic stage, lights lowered: to moonlight.
lLorenzo and Jessica should be looking out
over the terrace. He is on her left side.
Steps -off
Balustrade
Garden drop
Platform
Itepj off
Salttdtracfo
Tree
V
t
174
ACT V
SCENE I. Belmont. Avenue to PORTIA'S house.
Enter LORENZO and JESSICA on platform
Lor.1 The moon shines bright: in such a
night as this,
When the sweet wind did gently kiss the trees,
And they did make no noise.
Jes. In such a night
Did Thisbe fearfully o'ertrip the dew
And saw the lion's shadow ere himself
And ran dismayed away.
Lor. In such a night
Stood Dido with a willow in her hand
Upon the wild sea banks and waft her love
To come again to Carthage.
Jes. In such a night
Medea gathered the enchanted herbs
That did renew old ^Eson.
Lor. In such a night
175
lLauncelot runs around smacking his whip and
jumping. He carries a lantern.
In Elizabethan theatre lanterns and torches are
carried to indicate night-time.
2He kisses his hand to Jessica, when Lorenzo
runs across R after him; this brings Lorenzo
to R of Jessica.
T76
THE MERCHANT OF VENICE
Did Jessica steal from the wealthy Jew
And with an unthrift love did run from Venice
As far as Belmont.
Jes. In such a night
Did young Lorenzo swear he loved her well,
Stealing her soul with many vows of faith
And ne'er a true one.
Lor. In such a night
Did pretty Jessica, like a little shrew,
Slander her love, and he forgave it her.
Jes. I would out-night you, did nobody come ;
But, hark, I hear the footing of a man.
Enter LAUNCELOT from L.
Laun.1 Sola, sola! wo ha, ho! sola, sola!
Lor. Who calls?
Laun.1 Sola! did you see Master Lorenzo!
and Mistress Lorenzo, sola, sola!
Lor. (R C). Leave hollaing, man: here.
Laun. Sola! where? where?
Lor. Here.
Laun. (L C). Tell him there's a post come
from my master, with his horn full of good
news: (Xs to K) My master will be here ere
morning — sweet soul.2 [Exit R.
177
1 Musicians can either enter, or play ojf stage
up R, very softly.
^Lorenzo's speech can, of course, be restored if
the young man who plays it has a good voice de-
livery and manner; but it must be natural. It
is remarkable that Shakespeare should put such
wonderful thoughts into the mind of such an ex-
tremely ordinary young person, for they surely were
quite lost upon the young woman.
^Portia and Nerissa should have travelling
dresses and cloaks.
4 They go down steps to Lorenzo and Jessica,
who are so preoccupied that they do not hear
Portia's approach.
178
THE MERCHANT OF VENICE
Enter Musicians.
Come, ho! and wake Diana with a hymn:1
With sweetest touches pierce your mistress' ear
And draw her home with music. [Music.
Jes. I am never merry when I hear sweet
music.
Lor. The reason is, your spirits are attentive :2
The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils:
The motions of his spirit are dull as night
And his affections dark as Erobus:
Let no such man be trusted: mark the music.
Enter PORTIA (i) and NERISSA (2) on terrace
from L.
For? That light we see is burning in my hall.
How far that little candle throws his beams!
So shines a good deed in a naughty world.
Music, hark!
Ner. It is your music, madam, of the house.
For. Nothing is good, I see, without respect:
Methinks it sounds much sweeter than by day.4
Peace, ho! the moon sleeps with Endymion
And would not be awaked. [Music ceases.
179
1 Kisses Portia's hand — Jessica also.
2Nerissa goes up steps and of R, returning in
a moment. Nerissa returns.
*Gratiano goes to Nerissa up R C. Lorenzo
and Jessica go off, after a few lines R L, as if to
the house.
180
THE MERCHANT OF VENICE
Lor. (rising Xs to R C). That is the voice,
Or I am much deceived, of Portia.
For. He knows me as the blind man knows
the cuckoo,
By the bad voice. (They laugh.)
Lor.1 Dear lady, welcome home.
For. (C). We have been praying for our
husbands' healths,
Which speed, we hope, the better for our words.
Are they returned?
Lor. Madam, they are not yet;
But there is come a messenger before,
To signify their coming.
For. Go in, Nerissa;
Give order to my servants that they take
No note at all of our being absent hence;2
Nor you, Lorenzo; Jessica, nor you.
(A tucket sounds off L.)
Lor. (L C). Your husband is at hand; f
hear his trumpet:
We are no tell-tales, madam; fear you not.
For. (C). This night methinks is but the
daylight sick;
It looks a little paler: 't is a day.
Such as the day is when the sun is hid.8
181
lEmbrace.
2 Antonio bows; Portia crosses to his L C.
zGratiano and Nerissa are up R.
Grat. R, Nerissa R, Portia C, Bass. L C,
Ant. L.
182
THE MERCHANT OF VENICE
Enter BASSANIO (i), ANTONIO (2), GRATIANO (3),
and their followers from L 2.
For. (C). You are welcome home, my lord.
Bass.1 I thank you, madam. Give wel-
come to my friend.2
This is the man: this is Antonio,
To whom I am so infinitely bound.
For. Sir, you are very welcome to our house:
It must appear in other ways than words,
Therefore I scant this breathing courtesy.
Gra. (R to Ner.).z By yonder moon I swear
you do me wrong;
In faith, I gave it to the judge's clerk.
For. (L C). A quarrel, ho, already! what's
the matter? (Xing to C.)
Gra. (R). About a hoop of gold, a paltry ring
That she did give me, whose posy was
For all the world like cutler's poetry
Upon a knife, "Love, me, and leave me not."
Ner. (R C). What talk you of the posy or
the value?
You swore to me, when I did give it you,
That you would wear it till your hour of death,
And that it should lie with you in your grave.
Though not for me, yet for your vehement oaths,
183
lGratiano measures the height of the "boy" each
time, emphasizing the word.
^Portia looks round gradually, fixing Bassanio
with her gaze; he winces under it.
184
THE MERCHANT OF VENICE
You should have been respective and have kept
it.
Gave it a judge's clerk! no, God's my judge,
The clerk will ne'er wear hair on 's face that
had it.
Gra. OR). He will, an if he live to be a
man.
Ner. (R C). Ay, if a woman live to be a man.
Gra. (L C).1 Now, by this hand, I gave it to
a youth,
A kind of boy, a little scrubbed boy,
No higher than thyself; the judge's clerk,
A prating boy, that begged it as a fee:
I could not for my heart deny it him.
For. (C). You were to blame, I must be
plain with you.
To part so slightly with your wife's first gift;
A thing stuck on with oaths upon your finger
And so riveted with faith unto your flesh.2
I gave my love a ring, and made him swear
Never to part with it; and here he stands;
I dare be sworn for him he would not leave it
Nor pluck it from his finger, for the wealth
That the world masters. Now, in faith,
Gratiano,
185
lSame business at "boy" each time.
^Slowly; it seems incredible!
*Portia, acting the shrew, goes up stage in disgust.
Bassanio follows; they go up and down two or three
times C to R; C to L C; finishing C. Gratiano and
Nerissa do the same, up and down R.
This stage business is funny if done quietly;
but it must not be too boisterous.
186
THE MERCHANT OF VENICE
You give your wife too unkind a cause of grief:
An 't were to me, I should be mad at it.
Bass. (L C). [Aside] Why, I were best to
cut my left hand off
And swear I lost the ring defending it.
Gra. (R C). My Lord Bassanio gave his
ring away
Unto the judge that begged it, and indeed
Deserved it too; and then the boy,1 his clerk,
That took some pains in writing, he begged mine;
And neither man nor master would take aught
But the two rings.
For. (C).2 What ring gave you, my lord?
Not that, I hope, which you received of me.
Bass. (L C). If I could add a lie unto a fault,
I would deny it; but you see my finger
Hath not the ring upon it; it is gone.
For? Even so void is your false heart of
truth.
Bass. Sweet Portia,
If you did know to whom I gave the ring,
If you did know for whom I gave the ring,
And would conceive for what I gave the ring,
And how unwillingly I left the ring,
When nought would be accepted but the ring,
187
1 Antonio has patiently remained, mildly pro-
testing, and somewhat amused. Possibly, he is
glad he is not married!
188
THE MERCHANT OF VENICE
You would abate the strength of your dis-
pleasure.
For. If you had known the virtue of the ring,
Or half her worthiness that gave the ring,
Or your own honour to contain the ring,
You would not then have parted with the ring.
Nerissa teaches me what to believe:
I'll die for 't but some woman had the ring.
Bass. (L C). No by my honour, madam, by
my soul,
No woman had it, but a civil doctor,
Which did refuse three thousand ducats of me
And begged the ring; the which I did deny him
And suffered him to go displeased away;
Even he that did uphold the very life
Of my dear friend. What should I say, sweet
lady?
I was enforced to send it after him;
Ant. (L).1 I am the unhappy subject of
these quarrels.
Por(C). Sir, grieve not you; you are wel-
come notwithstanding.
Bass. (L C). Portia, forgive me this enforced
wrong;
Pardon this fault, and by my soul I swear
189
lBassanio and Gratiano both raise hands with
rings, and say, "By Heaven!" then cross hands
over several times to each other, to make sure.
^Lorenzo and Jessica return up R. Pause!
*Portia and Nerissa come down R and L and
kneel beside their husbands. The two men laugh
and raise them up; then all laugh. It is merry
to the end.
Gratiano Baaaanio
Antonio
IQO
THE MERCHANT OF VENICE
I never more will break an oath with thee.
Ant. (L). I once did lend my body for his
wealth,
Which, but for him that had your husband's
ring,
Had quite miscarried: I dare be bound again,
My soul upon the forfeit, that your lord
Will never more break faith advisedly.
For. (Xs to V). Then you shall be his surety.
Give him this
And bid him keep it better than the other.
Ant. Here, Lord Bassanio; swear to keep
this ring.
Bass.1 By Heaven ^7^ it is the same I gave
the doctor!
For. (kneeling).2 I had it of him. Pardon,
Bassanio.
Ner. (kneeling.} And pardon me, my gentle
Gratiano.
Gra. (raising her, Bassanio at the same time
raising Portia). Why, this is like the mending
of highways in summer, where the ways are fair
enough.
For. (L C) . You are all amazed :3
Here is a letter; read it at your leisure;
IQI
-Those tiresome young people, Lorenzo and
Jessica, stroll on again here. Their presence is the
only thing that spoils the end of the comedy.
2 'Jessica, greedy to the last, tries to snatch the
letter from Nerissa, who very promptly corrects
her at the words, "after his death.7'
zPortia gives her left hand to Bassanio, who
is C; her right hand to Antonio, who is L. They
all go up steps and off R.
192
THE MERCHANT OF VENICE
It comes from Padua, from Bellario:
There you shall find that Portia was the doctor,
Nerissa there her clerk.
(Astonishment and great joy all round.)
Antonio, you are welcome;
And I have better news in store for you
Than you expect. Unseal this letter soon.
There you shall find three of your argosies
Are richly come to harbour suddenly.
Bass. (C). Were you the doctor and I knew
you not?
Ant. (L). Sweet lady, you have given me
life and living;
For here I read for certain that my ships
Are safely come to road.
For. (L C).1 How now, Lorenzo!
My clerk had some good comforts too for you.
Ner. Ay, and I'll give them him without a
fee.
There do I give to you and Jessica,
From the rich Jew, a special deed of gift — 2
(After his death) of all he dies possessed of.
[They go up to L C.
For. (L C). It is almost morning,3
And yet I am sure you are not satisfied
193
1Gratiano and Nerissa go up R C.
Lorenzo and Jessica go up L C.
They all kiss and the curtain falls. Antonio
laughs. Do not have a dance: it is out of place
— absurd in fact: so early in the morning!
194
THE MERCHANT OF VENICE
Of these events at full. Let us go in;
And charge us there upon inter'gatories1
And we will answer all things faithfully.
(A little music plays softly from within during
last speech.)
[Exeunt.
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